CATALOfiUF,
SAN SK KIT MANUSCKIFl'S
A
I)ES(^I{TPTIVE (CATALOGUE
OF THE
8AN8KJnT MANUSCRIITS
IN THE (’OLIiWTIONH
OF
THE ASIATH' SO(’IHTY OF HENOAL
BY
mahamahopadhyaya haraprasAda shastrI,
C.I.E., M.A., D.Litt., F.A.SB.
Philological Secretary y Asiatic Society of Bengal,
ami Honorary Member, Royal Asiatic Society of Great Britain and Ireland,
VOLUME VI.
VYAKARANA MANUSCRIPTS.
FEINTED AT THE BAPTIST MISSION PRESS.
PUBLISHED BY THE ASIATIC SOCIETY OF BENGAL.
CALCUTTA.
1931.
SYNOPSIS OF CONTENTS.
1. Synopsis of Contents of Prejace
Page
iv -3
2. Introduction
V
3. Preface
vii
I. Graimnar
xxxviii
11. Lexicography . .
exix
III. Chandah-Sivstra (l^rosody)
cliv
TVL Alankfira (Rhetoric)
clwiii
4. (Jataloyne
1
s / (A) Vyak'Arana
1
I. Panini, Astadhyayi
1
II. Recasts
28
111. Philosophy and Technical
Rules of Panini
55
IV. Subsidiary Treatises of the
)S<‘liool of Panini
70
V. Later Schools of (iraininar
84
( 1 ) Kalapa
84
(2) Vararuci
110
(3) Candra
115
(4) Oafigu
118
(5) Sarasvata , . >
123
Page
(B) Sifldiidnta-candrika . , 144
(7) Samk^pto-sSra . . IfiO
(8) Hema-oaiidra . , 185
(9) Mngdha-bodha . . 197
(10) Siipadma .. .. 219
VI. (Iramrnatiral Troatisos of
lit) School . . . . 242
Vn. Prakrta (h’amniui's . , 274
^(B) Ko 5?A OTtLK\[(’f)N (Ikneual 280
I, Lexicon special .(Eknksa-
radikoaa) . , . . 830
II. Spelling Books . . 344
\/((') Ckandas or Meth?3 . . 350
v/(D) Aeankaha or Kiietorio . . 380
1. Rasas or PooUc Sentiineuta 474
JI. Letler-writers . . 490
5. Addemla . . . . 495
6. Index of Works . . . . 613
Works with titles . . 613
11. Works without titles . . 521
SYNOPSIS OF CONTENTS OF PREFACE.
Introduction
Page i
V i
Prejace . .
vii 1
. Grammar
vh j
Personal History of Paiiini . .
xvi 1
Literary History of Panini . .
XVll 1
Panini’a works
xvii !
Katy ay ana’s Varttikapaths
xix ^
1
Piitafi jail’s Mahahhasya
XX ,
Personal History of Vat-au-
jali . .
1
xxi
His date
xxii j
The state of language from
1
B.C. fiCK) to A.D. 600
xxii
The Asoka inscriptions
xxiii
The learning and power of
observation of Patanjah . .
xxiii
The study of the Maha-
bhasjni
xxiv
Accessories to th(' study
of Panini
XXX
Dhatu-patha
xxxi j
Linganu-sasana
xxxii
Paniniya Siksfi . .
xxxii
Unadi'Suiras
xxxii
Phil siltras
xxxiii
ParibhasS sutras
xxxiii
Bhattr-hari’s Vakyapadiya
xxxiv
Amdra-firawmar-KStantra
xxxviii
Kaiantra-parisista and its
Commentaries . .
xUi
Accessories of Katantra
(1) KSraka
xliii
(2) Hoots
xliii
Conjugation
xUv
Rajadi-Vrtti
xliv
Rucadi
xliv
Krt ..
xlv
TJnadi
xlv
Kaimira recension
xlv
Conclusion
Page
xlvii
The C&ndra school of Gram-
mar
xlviii
Jinendra school . .
lii
Mono -sy 1 lab i c nomcn cl atu re
liii’
R&katayana school
liv
Accessories of Sakatayana’fl
Grammar
Iv
Herna-candra school of
Grammar
Ivi
Accessories to Homa-can-
(Ira’s Grammar
Iviii
Sub-Commentaries on Homa-
candra’s Grammar
lix
Manuals
lx
Commentaries on the Aeces-
sories
lx
The Samksipta-R&ra School
lx
The Vrtti and its revision . .
Ixii
Age of Juinara’s revised Com-
mentary
Ixiii
The age of Goyi-candra
Ixiv
The age of the principal
commentators of the Sam-
ksipta-sSra School
Ixvi
The Commentaries on Goyi-
candra
Ixviii
Gan as or words taking the
same grammatical termi-
nation
Ixxii
VSraruca School . .
Ixxiv
Cangu -School
Ixxv
The Sarasvata School
Ixxvii
Tradition about its origin .
Ixxvii
Its diffusion
Ixxvii
Commentaries and Sub-Corn-
mentaries
, Ixxviii
Sub-Commentary by Pufija-
rajo. .
. Ixxviii
SannySsi Sub-Commentaries
Ixxix
iv — 4
SYNOPSIS OF CONTENTS OF PREFACE.
Page
The Sarasvata-candrika . . Ixxix
Aocossorios . . . . Ixxx
Mugdha-bodha School ol
Grammar . . . . Ixxx
SopplemontK to the Mugdha-
bodha . . . . Ixxxvi
Accessories of the Mugdhn-
bodha . . Ixxxvii
The Unadi of Mugdha-bodha Ixxxvii
Supadma Grammnr Ixxxviii
Genealogy {of the author) Ixxxviii
Commentaries on Supadma
Grammar . . . , Ixxxix
Accessories of Supadma
Grammar , . . xc
Prayoga-rntna-mala School xciii
The extent of its study . . xciv
Commentaries . . . . xciv
Recasts of Panini . . xcv
Date of Prakriyft Kaumudi . . xcvli
His {Authors) Gurus . , cvi
Sidhanta-Kaumudi with Com-
mentaries . . . . cix
Abridgements of Siddhanta-
Kaumudi . . . . cix
Minor Schools of Grammar . . cxi
BhRva-sirnha-prakriyR , . cxiv
ASubodha . . . . cxv
Suddhasu-bodha Vyfikarana cxv
Sighra-bodha . . . . cxv
Jhanamrta . , . . oxv
Pada-oandrika (I.O. Catal.
903) . . . . cxv
PrakriySmava . . . . cxvi
PSrijata-vy&karann . . cxvii
RatnavatT . . . . cxvii
Dipa-vyakarana . . . . cxvii
II. Lexicography . . . . cxix
Three groups . . . , cxix
Three periods . . , . cxix
Pre-Amara period. Nighantu cxix
Yaska’s Nirukta . . . , cxix
Commentary of Nighantu by
Devaraja Yojva * .. oxx
Dui-gaearya’s Commentary
on Nirukta . . . . cxx
Page
The age of Nirukta . . cxx
Predecessors of Amara. (1)
Vara-ruci
cxxi
IJnga-varttiko by Jaya-
simha (Catal. No. 4030)
cxxi
NSma Lingam
cxxii
Vyadi and others
cxxii
Katya
cxxiii
Bhaguri and Tri-kanda
cxxiii
Ratna-Kosa
cxxiii
Ainara-mfila
cxxiii
Vacaspati’s Kosa . .
cxxiv
Dhanvnntai i
oxxiv
Arnara-kosa. Its modiilca
tions
cxxiv
Criticism of Amara
cxxvi
Commentaries
cxxvi
Kosas after Amara
cxxxii
Sasvata
cxxxii
Halayudha
cxxxii
Yadava-prakasa . .
cxxxii
Visva-prakata
cxxxiii
Anekartha-kosa or Mankha
kosa
cxxxiv
AnokSrtha-dhvaiii-mafijari
by Maha-ksapanaka of
KasmTra
. cxxxiv
NanSrthBruava-SamkBepa by
Kesava Svami . .
, cxxxv
Hema-candra
. cxxxvii
Medini-kosa
cxxxviii
Kosas after Medini
cxlii
Krya nighantu
cxlix
SarasvatSbhidhana
. cxlix
N&nartha-ratna . .
cxlix
Kriya Kosa
cl
A dictionary of words with
two or more forms, that is,
spellings
cl
Babda-bheda-prakSaa
ol
ViiesSmrta
cl
Sarsvati-vilSsa
. cli
VaibhSsika-koaa by Krsna-
Ka vi
. cli
Dvi-rupa-dhvani-samgraha .
. cli
SYNOl’SIS OF CONTENTS OF PREPACK.
iv — 5
Page ,
Page
Spelling book, varnadesanft . .
cli
The story of Nahina - tho
Varna-prakasa
chi
origin of the Nat as
. clxxx
III. Ghandah-sAstra
chv
Classification of Chandah in
Profiody
cliv
Pingala and Bharata
. clxxx
Vedic chandah is neither
Charactenstics of the sutra
metre nor prosody
cliv
literature
. cl XXX i
Vedic and laukika clmndalis . .
cliv
A treatise, written in rogulai
Chaiidali as a VedertTga
civ
sutra form -found in the
Age of Pingala
civ
body of the Natya-aastra .
. clxxxii
Pingala’s system
clvi
Five stages of devolo[)mont
Vedic prosody of Pingala.
clvi
from the siitra to the
The Vedic verses . .
civil
Sastra form
. clxxiii
Laukika section of Pingala’s
Enumeration of rasas
. clxxxiv
Prosody
clviii
Literary criiieism in Bha-
rata . .
. clxxxiv
IV. AlankAra
clxviii
Doaas . .
. clxx XV
Rhetoric
clxviii
Gunas . .
. cl XXXV
Six kinds of poetic literature . .
clxviii
The drama
. clxxxv
( 1 ) Anibaddha or niuktaka . .
clxviii
Synthetic criticism of a
(2) Business proso, royal
drama
. clxxxvi
writs, etc.
clxix
KavyIdausa of Dakdin
clxxxvii
(3) Language of controversy . .
clxix
The name— Kavya-darsa”
clxxxvii
(4) Poetry m Prose, katha
Definition
clxxxvii
and akhyayika. .
clxix
Classification of poetry ac-
(5) Drama
clxx
cording to form . .
clxxxviii
(()) Maha-Kavya . .
clxx
1 Classification of poetry ac-
Pirst Source and the J!^irukta
clxxi
cording to language
clxxxviii
Second Source and the Artha*
New explanation of the
Sastra
clxxi
1 ‘ mixed ’ language
clxxxviii
Third Source and the Tarka-
1 Riti
. clxxxix
Sastra
clxxi 1
i Chapter II of Dandin
. clxxxix
Fourth Source
clxxiii
Historical and Geographical
Fifth Source and the Nfttya
statements in Dandin
cxc
Sastra
clxxiv
Kavya-tattva-vivecaka-kau-
The Vedic sacrifice and the
mudi (I.O. 1128)
cxcii
drama
clxxiv
Kavyadarsa-vyakhya (Mad.
Sixth Source
clxxvi
12834)..
cxcii
BhABATA’s NA^^YA-ilSTirA
clxxvii
Hj-dayaiigama (Mad. 12833) .
. cxcii
Drama was Subsequent to
Kavyalankara of Bhamaha
. cxciii
the Vedas
clxxvii
Bhamaha’s Kavyalaiikara .
. cxciii
Natya-sutras
clxxvii
Bhamaha’s classification
, . cxciv
Bharata’s Natya-idstra
olxxviii
Bh&maha, an improvement
Distinction between Sutra
on Dandin
. cxciv
and Sastra
clxxviii
The aim of Dapdin
. cxcv
Bharata’s antiquity
clxxix
Bh&maha and Kali-dksa
. exevi
iv — 6
SYNOPSIS OF COOTBNTS OF PREFACE.
Page
Dandiu, Bhamaha, and Kali-
dawa. . . . . . <‘xcvii
BhSmaha’H reliji^iori . . cxnviii
Daiidiii aud Bharnalia . . cxcix
HornoH of Dandin and
Bhamaha . . . . ccii
KiVYALANKAUA-HUTIlA-Vlirri OF
Vamana . . . . . . cciil
Vftmaiia’K work . . . . cciii
Vamana’n ago . . . . cciii
Vamana on riii . . . . cciv
Vamana’H homo . . . . ocvi
UDBHA'f A . . . . . . Cpvi
Age of Udbliata , . . . ccvii
Pratiharondu-raja’H Com-
mentary . . . . ccvii
KAVYAr.ANKATiA OF ftimuAXA . . ccviii
Kudrata’s dofinition of Kiivya ccix
liiw claHMificaiion of Knvya ccix
Hudrata’s S(d»dalankaras . . ccix
His artiialankaras . . ccxi
RaHHH dealt with in Rudraia ccxi
Maha-Kavya, Katlia, and
Akhynyikft . . . . ccxii
Time and place of Had rata . . ccxii
Commentator’s of Rudrata . . ccxiii
UunaA-BHATTA’s Si.tNaAaA-
TILAKA . . . . . . ccxiii
Rudrata and Rudrabhatla . . ccxiv
Agrii-piirana . . . . ccxiv
Sources of Kavya . . ccxv
Classification of Kavya . . ccxvi
Drama in Agni-purana . . ccxvi
Rasas' in Agni-purana . . ccxvii
Riti in Agni-purana . . ccxvii
Sabdalahkara . . . . coxviii
* Ubhayalahkaras . . . . ccxviii
KX-VYA-mImamsa by Raja-
Sbkhara . . . . ccxx
Age of Raja-Sekhara . . ccxx
His lineage . . . . ccxx
Other works of BBj a-Sekliara ccxxi
KSvya mimSmaS . . . . coxxii
Tradition of KSvya-
mlmSmsB . . . . ocxxU
Page
Division of Kavya-mimanisa coxxiii
Chaiitcr 1
ccxxiii
n ..
. ccxxiv
„ m
ccxxiv
TV . .
ccxxv
„ V . .
ccxxv
VI . .
ccxxvi
„ VU . .
ccxxvi
„ VJTi . .
ccxxvii
„ rx . .
ccxxvii
„ X
ccxxviii
XI .. .
. ccxxix
Cliaptors Xll aud XJJl
. ccxxix
„ XJV „ XV
ccxxx
Chapter XVI . .
, ccxxx
„ XVfl ..
. ccxxx
„ XVIII
. ccxxxi
Tiik Dhvani-k.\ra
. ccx X xi
The Dhvani Sclioul bus a
tradition
. CCXXXI
The Dlivaiii-kara. .
ccxxxiv
Ananda-vardhana, the vrtti-
kara is dihereut from the
Karika-kara
. ccxxxv
Ananda-vaudhana
ccxxxvn
Time and place of Ananda-
vurdhana
ccxxxvn
His ancestry
coxxxvin
ABlllDHA-VIJlTI-MATlilKA BY
Mukula
ccxxxix
The book
ccxxxix
The author and his age
ccxxxix
Abhidha-vrtti-matpka — a re-
action against the Dhvani
school
ccxxxix
Mammata refutes Mukula . . ccxi
ABUlNAVA-OaPTA .. .. CCX]
Time and place of Abhinava-
gupta . . . ■ CCX
Importance of Abhinava-
gupta in finally establish-
ing the Dhvani school.
His Commentary on
Bharata’s Natya-Sftstra . . ccx
SYNOPSIS OF CONTENTS OF PREFACE.
Vakrokti-jivita by Kuntala . .
Page
eexlii
Kuntala’s work is a revolt
against the Dhvani school . ,
eexlii
Ago of Kuntala . .
eexliii
Dr. S. K. De’s edition of
Vakrokti-jTvita. •
eexlii i
Vakrokti
eoxliii
Division of Vakrokti
ccxlv
Kuritala’s idea of rUi
ccxlv
Vakrokti is essential in all
the alaukaras . .
ccxlvi
Vakrokti-jivita is the iso-
lated attempt of a great
thinker
ecxlvi
Contents
ccxlvi
Dasa-rui’A by Dhananjaya
ccxlvii
Age of Dhaiianjaya
ccxlvii
Dasa-rupa — based on Bha-
rata. .
ccxlvii
The translation of ietshnieal
terms are taken from
Haas’s Dasa-rupa
ccxlviii
Dhanafijaya gives 11 forms
of NStaka as against 27 of
the Agni-purSiia and 28 of
Rahitya-darpana
. eexlix
Bhoja-raja’s Sarasvati-Kan-
THABHARAlJA AND S^NQARA
PRAKASA. .
ccl
Bhoja — King of DharS.
. cel
Saraavati-kanthAbharana
. (!Cl
Sabdalankftras in Saraavati®.
, ecli
Contents of Chapter V
colii
Rfti dealt with in Sarasvati®.
. ccliii
His RffigSra-prakasa
ccliii
AuCirrA-VIOiRA-CAROA BY
K^embndba
. cclv
Origin of the idea of Au-
citya
. cclv
Age of Kaomendra
cclv
Name of some unknown
poets quoted by Kaemen-
dra in his Aucitya®
cclvi
Kavi-kapthSbharana, a book
on the training of poets .
. cclvi
iv-~7
Page
Contoul.H . . . . cclvii
Unkaowii pdots in iho Kavi-
kanthSif>harana. . • • cclviii
VyAICIH-VIVKKA by MAHfMA-
BilAT^A . . . . . . cclix
Vyakti-viveka -a conlradic-
tion up;ainst ihu flhvarii
theory . , . . oflix
Date and place of Mahinia-
hhatla .. .. nchx
Mammat a’s Kavya-prak asa . . cclx
Date of Mararnata
Slory of the joint aiithor-
8hi]i . . . . cclx
His definition of Kavyu . . cclx
The three fmictions of words
clearly stated . . . . colxi
UllfiKa IIT .. .. colxi
Ullasa IV . . . . colxi
Exphiimtion of t he siigji^c’stod
meaning . . . . cclxi
Kavya — Pr. N. S. P. 101 . . cclxii
Ullasa V . . . . cclxiii
Ullasa VI .. .. cclxiii
Ullasa Vri—troats of th('
various defects . . . . cclxiii
Ullasa Viri . . . . cclxiv
Ullasa IX — treats of the
Sabdalaiikaras . . . . cclxiv
Ullasa X — treats of the
ArthalaiikSras . . . . cclxv
Misconceptions about the
Kavya-prakasa, . . . cclxv
COMMEt^TARIES Of^ KaVYA-
PRAKiSA.. .. .. cclxv
Sri-dhara’s Commentary #
named Kavya-prakaaa-
viveka . . . . oplxvi
Candl-dasa and his lineage
(Catal. No. 48:^8.) . . cclxvi
Raghu-deva’s Artha-prakS-
sikft. . . . . . cclxvii
J ayanta Bhat ^ and his
Commentary . . . . cclxvii
iv — 8
SYNOPSIS or CONTENTS OP PREFACE.
K&vya-prakasa-nidarsana by
RajAnaka Aiianda
Page
cclxviii
Kavya-pradipa by Goviiida . .
cclxviii
Kavya-prakSaa-vlytanka by
Paramariarida . .
cclxix
Kavya-prakasa-prakaea by
Kainala kara. .
cclxix
Kavya-prakuSa-Uka by
Gada-dhara
cclxx
Tattva-pariksa by Malies-
vara Subndhi Miwra
(Caial. No. 483!))
cclxx
Mahoavara NyAy Alan kara . .
cclxxi
SrT-kranS
cclxxi
Vaidya-nstha
cclxxii
RAma-krsna
cclxxii
Sri - vatsa-Uifichfiiia
cclxxii
An anonymous Kiisiniii Com-
mentary
cclxxii
Krivyamrta-iarangmT
cclxxii
Bala-cittftnuranjinl (1.0.
1139)
cclxxiii
KAvya-prakftsa tilaka (I.O.
1142)
. cclxxiii
Kavya-prakasa vyakhya
(Mad. 12821) ..
. cclxxiv
Kavya-prakosa-lila (Mad.
12824)
, cclxxiv
Madliu-mati and Kavya-
darpaua (I.O. 1144)
. cclxxiv
Hampradaya-pradarsini
(Mad. 12826) ..
. cclxxv
Sfthitya-oiida-mani or Kavya
prakasa-vumaraini (Mad.
12828)
. cclxxv
Alanka.-ra-barvasva by Rucaka
cclxxv
Rucaka and his disciple
Maiikhuka or Mankha
. cclxxv
Samudra-vandha — a com-
mentator
. cclxxv
Jayaratha, a second com-
mentator
. cclxxv
Ruooka’s date
, cclxx vi
Rucaka and Kunt^la
Rucaka and Mahima-
bhat^
. colxxvi
Page
Jaya-ratha
cclxxvii
Alankarodaharariani
cclxxvii
Hema-candra
cclxxvii
Hernacandra’s ago
cclxxvii
Vagbha'tat.ankara . .
colxxviii
VAgbhatA’s age . .
cclxxviii
VSgbhatftlankara
cclxxix
Vagbkata 11
. cclxxx
Kavyanusasana or Alan-
kSra-tilaka (I.O. 1157)
. cclxxx
Natya-darpana by Rama-
oangra and Gitna-candra
. cclxxx
Natya-darpana
. ccLvxx
The authors, Rama-candra
and Guna-candra
. cclxxx
The characteristic of the
work
. .cclxxxi
Arrangement
colxxxii
Special feature
cclxxxii
Bhava-rrakasana by Sakada-
tanaya . .
cclxxxii
Bh ava-prakasan h
cclxxxii
The author and hia pedigree cclxxxiii
His training
cclxxxiii
The three works compared .
. cclxxxv
Geography of India in the
Bhftva-prakasa
cclxxxv
His date
cclxxxvi
The works and authors
quoted in the Bhava-
prakasana
cclxxxvii
Jaya-deva’s Candraloxa
colxxxviii
Jaya-deva’s parentage
cclxxxviii
Date of Jaya-deva
cclxxxviii
Characteristics of Candra-
loka. .
cclxxxix
Pradyotana’s SoradSgama
colxxxix
Appaya’s Kuvalayananda
cclxxxix
Date of Baradagama
cclxxxix
Rak&gama by GSgS-bhatta
oclxxxix
Vaidya-nStha’s Common-
tary . .
. . eexe
EkIvalI of Vidya-dhara
eexe
Condition of Sanskrit cul-
ture after the Muham-
madan conquest . . 00X0
SYNOPSIS OF CONTENTS OF PREFACE.
iv— 9
Page | Page
EkavalT — written in the wake 1 Sahttya-darpana by Visva-
of KSvyaprakBsa . . ccxci !
Vidya-dhara’s Keli-rahasya . . ccxci j
Malli-natha’fl Commentary . . ccxcii ;
Date of Vidya-dhara . . coxciii i
Explanation of the word !
Hambira . . . . ccxciv |
Nara-sitnha - his patron . . ccxciv
Evidence of the Ilasarnava-
aiidhakara . . . . ccxcv
Rasarnava-stjdhakara ry
SiNGA BHUPALA .. .. ccxcv !
Coutente of Chapter J . . ccxcv '
Classification and subdivi-
sion of the exciting causes
(uddipana vibhavas) . . ccxcvi i
Origin of the dramatic !
vrttis . , . . ccxcvi j
The pra-vrttis . . . . ccxcvi |
The sattvika bhavas . . ccxcvii ;
Contents of Chapter TT — The
Transii ory Emotions . . ccxcvii
The Permanent Emotions . . ccxcvii
The 3rd Chapter deals ex-
clusively with the
Natakas and their modi-
fications . . . . ccxcvii
Peculiar feature of Sihga
Bhiipala’s criticism . .ccxcviii
Characteristic of the work . .ccxcviii |
The Recalla family and I
Sihga’s ancestors , .ccxcviii
Date of Sihga Bhupala . . ccxcix |
N&taka-paribhSsa (I.O,
Catal 1201) .. .. ccc
PHtrXPA-BUDBIYA BY VtDYA-
NATHA . . . . . , CCC
Pratapa-rudriya also written
in the wake of Kavya-
prakSsa . , . . ccc
His age . . . . ccci
Chronology of anthors in the
book . . . . cccii
PratSpa-rudra commented
upon by KumarasvSmin . . cccii
N^THA . . . . . . ccciii
Definition of Kavya in the
Sahitya-darpana . . ccciii
Chapter I . . . . cceiv
„ II . . . . ccciv
„ III — taken up
with rasa . . . . ccciv
Chapter TV -classification
of Poel ry . . . . ccev
Chapter V . . . . ccev
VT- -Drsyn and
Rravya . . . . ccev
Different classes of poetry . . ocev
Chopfer Vll-lreals of
deflects . . . . ccevi
Chapter VITI .. .. cenvii
,, IX . . . . ccevi
His father . . . . cccvii
His ancestor, Narayana . . cccvii
Date of Visva-natha . . cccvii
Internal evidences . . cccviii
Cnndi-dasa .. .. cceix
Dharma-datta , , . . cecx
Rama-carano Tarkavagfsa,
-—commentator of Visva-
natha , . . . cccx
RarS'^inava by Pbakasa-Var^a . . cccx
Dbyentdra or Devrsvaba . . ceexi
Kavi-Kalpa-latS .. .. ceexi
Amara-candra and Arisimha. . cccxii
Date of Devosvara . . cccxii
Date . . . . . . cccxii
Appaya Dik^tta . . . . cccxiii
Citra-mimanisa . . . . cccxiii
Eaksya-laksanqi-samgraha . . cccxiii
Vrtti-vftrtikam . . . . cccxiii
Citra-miraamsa-khandana . . occxiv
Kuvalayananda-khandana . . cccxlv
Commentators on Appaya’s
works . . . . cccxv
Appaya’s date . . . . cccxv
Alankabah by the Cattanva
Sect . . . . . . cccxv
iv— 10
SYNOPSIS OP CONTENTS OP PEEPACE.
Page
Rflpa GosvSmiD and Jiva
Ooflvftmin
. C0<iXV
Kavi-karna-pfira and his
workH
. cecxv
Nataka-candrika . .
. cccxvi
Alankara-kaufitubha
1196)
(T.O.
. occxvi
Alankara-kniiHiubho
12700)
(Mad.
. cccxvii
■Alahkara-kauatuhha
1278.5)
(Mad.
. cccxvii
Alafikara-Sekhara, .
. cccxvii
Rara-oangadhaua nv Jaoan-
mXtha . . . . . . focxix
Jagan-natha’H Pedigree
. . cccxix
riBsa-gangadhara
. . cccxx
.Tagan-natha’s definition of
Kavya
. . cccxxi
NANJA-RAJA*YAS0-HHU9AI^A by
N^-simha
. . cccxxii
Nanja-raja-yaHo-bhiiaanH
. . cccxxii
Nf-wimha, the author. Writ-
ten in the wake of Pra-
tSpa-rudra -yaSo-bhusana
. . cccxxii
Nafija’s works
. . cccxxii
PratRpa-rndra and Nafija-
rSja®
. . cccxxiii
The story of the model
drama
. .cccxxiii
OTHim WORKS OTSI AlANKARA
NOTICKT) TN OUR CaTALOOUK ,
, .cccxxiv
tSahrdaya-lila
. . cccxxiv
Alankara-ratn ftkarn
. ccoxxv
Candra-karikS
. ccoxxv
Varna-ratnakara . ,
. cccxxvi
KSma-samuha
. cccxxvi
Kavya-vilSsa
cccxxvii
AlankSra-mafijarl
cccxxvii
Short works
cccxxvii
Kavi-sarani -dipika
cccxxviii
Sahitya-ratnakara
cccxxviii
Other works on Alankara
NOTICED IN OTHER CaTA-
T.OOUES OF MSS.
cccxxviii
Page
Sahitya-kautuhala (I.O.
1176) . , cccxxviii
Kavya-candrika (T.O, 1193) . .cocxxix
Another KSvya-candrika
(1.0,1194) .. ..cccxxix
Alankara-candrodaya (1.0.
1198) .. ..cccxxix
Natya-darpana (1.0.1199) . . occxxx
Alahkara-sarngraha
(Mad.
12794)
. , cccxxx
Alankara- samgraha
(Mad.
1279.5)
. . cccxxx
Alankara-safijivani
(Mad.
12799)
. . cccxxx
Alahkara-sarvasva
(Mad.
12798)
. . cccxxx
Kavi -aamaya-kallola
(Mad.
12808), and Kysna-rSja-
yaso-dindima . .
. . cocxxxi
Kavya-darpana
(Mad.
12809)
. . cccxxxi
KSvya-laksana
(Mad.
12829)
ccexxxii
Dasa-rqpaka-vivarana (Mad.
12892)
ccexxxii
RSma-candra-yaSo - bh iisana
(Mad. 12950) ..
cccxxxiii
Laksana-dipika
(Mad.
12951)
cccxxxiii
Laksana-mklika
(Mad.
12963)
cccxxxiii
Sahitya-kallolinI
(Mad.
12994)
cccxxxiii
Sahitya-cinta-mani
(Mad.
12965)
cccxxxi V
Alahkara-ni ka^a
(Mad.
12976)
occxxxiv
RKS ON Rasa
cccxxxiv
KalySna-kallola . .
cccxxxiv
Letter-writers
cccxxxv
The study of AlahkSra cccxxxv
Conclusion
oocxxxvi
INTRODUCTION.
In this volume are described MSS. from 4213 to 4944
with a few additional numbers, divided into four sections : —
(1) Grammar, 4213 to 4628A.
(2) Ko§a or lexicon from 4629 to 4732A.
(3) Chandah or metre from 4733 to 4786.
(4) Alamkara or rhetoric from 4787 to 4944.
An attempt has been made in the preface to give a
history of these four subjects, specially of grammar.
PREFACE.
It is difficult to say definitely whether in the Samhitas
of the Vedas, there was nauch speculation about the for-
mation of words and the analysis of sentences. Passages
which are considered to talk of grammatical speculations
may be otherwise explained, or, if they speak of grammar
in any sense, it is of the most primitive kind.
In the Brahmanas, however, along with speculations
of all sorts, there were undoubtedly speculations on gram-
mar, very primitive, though conscious, efforts. I will give
one example from Chandogya Upani^ad, which is a part of
Chandogya Brahmana. There the word ‘Udgitha’ has
been derived as Ud, gi and tha; Sama from Sa and ama.
The derivation is not from roots, but from the syllables
constituting the word. Another example I will give from
the Samhitopanisad of the Aitareya-Araiiyaka. It em-
bodies the speculation of two or three families of Rsis
about samhita or union, but the words and forms em-
ployed were all later utilised in grammar. It opens with
xfir xfjw ^rfir^T II The
words purva-rupam and uttara-ruparn or para-rupain
are still used in the Sanskrit schools at Benares in ex-
plaining samhita or sandhi. Panini often says para-rupa-
eka-desah or purva-rupa-eka-desah that is, the purva-rupa
and the para-rupa combined sometimes leave the purva-
rupa alone or the para-rupa alone.
Proceeding a little further, the Samhitopanisad says
frrxfv W[ n The last letter of the first word
viii
PEBFAOB.
is called purva-rupa and the first letter of the second word
is called uttara-rupa and the space between these two is
samhita. This is purely grammatical sandhi. The word
nirbhuja-vaktra means those whose mouths utter samhita
or sandhi. This is very simple but the dwarfish Mandukeya
( a i^i ) says, that is all right. The last letter of the first
word is purva-rupa and the first letter of the second word
is uttara-rupa and the space between these two by which
sandhi is produced, pitches are determined and the time
is divided, is samhita. The former opinion gives the
name of samhita to the space only but the latter says,
no, the space is not sandhi, it is the change of pitch and
the change of time that is sandhi. This is an advance
on the theory of the nirbhuja-vaktra. In the same
brahmana or paragraph another advance is proposed by a
third mi who says that the equation of the pitches ( ) is
sandhi.
Thus after defining sandhi the work proceed to give
the secret of speech. Consonants are prthivi. the sibilants
are atmosphere and vowels are heaven. The consonants
are fire, sibilants are air and vowels are the sun. Conso-
nants are Rg-veda the sibilants are Yajur-veda and the
vowels are Sama-veda. The consonants are the eyes, sibi-
lants the ears and the vowels the mind. The consonants
are prana, sibilants are apana and vowels are vyana. This
human body is a divine lyre just as there is a lyre among
men. Just as a human lyre, it has a head, it has a
belly, it has a tongue and the strings are its fingers. Both
the lyres have their consonants, their sibilants and their
vowels and both are covered with a skin full of wool.
All this shows that the alphabet was in the making
when this work was composed. It treats in the last
PEBFAOE.
IX
paragraph of its second part, of cerebral § and cereb^ n.
Thus the Samhitopani^d covers the whole field of the
letters of the alphabet, the change of dental s and n into
cerebral 9 and n and of the changes which letters undergo
when they come together, i.e., it covers the whole field
of the Vedanga Siksa, which has ceased to be a separate
subject of study since the advent of Panini who has in-
cluded it in his grammar. So it may be taken for granted
that the Samhitopani^d represents an early speculation in
grammar.
1 have hitherto, spoken only of the Samhitopani^ad
of the Aitareya School. The Kausitaki Brahmana has
a Samhitopaiiisad. But it is much shorter. But the Sam-
hitopanisad of the Taittiriya Aranyaka is more syste-
matic. It speaks of Siksa first as consisting of letters,
vowels, time in pronunciation, the effort, the equili-
brium’ of pitches and sarnhita and then goes on with
the Samhitopani^ad, drawing similes from the pheno-
mena of nature, from the human body, and so on. There
is a Samhitopaiiisad of the Sama-veda (see our Catah
1312). The Catalogue of the Adyar Library says that
there is a Samhitopanisad for every veda. It deals with
sandhi.
So far for the Siksa section of grammar, for other sec-
tions there were numbers of vedic indices from which the
grammarians derived their materials. It is a well known
fact that at the close of the vedic period, Indian scholars
became veteran writers of indices or Anukramams. They
had R^i.-Arukrama^is, Chandonukramanis and Devata-
nukramai^; Suktanukramanis, Anuvakanukramanis and
other AnukramaQis. But there are other Anukramams too.
These are ( 1 ) indices of words occurring in the whole
X
PREFACE.
of the Rg-veda ending in visarga called samanas, ( 2 )
ending in n, ( 3 ) expanding in ay, av, ay, av, or in a and
a, and ( 4 ) and simple non-compoiind words ( see our
Catal. 287).
The Pada-patha and Krama-patha afforded opportuni-
ties to observe variations in pitch, in pronunciation and
in sandhi. These have been fully utilised in works like the
Upa-lekha sutra. The pada-gadha is a long register of
vedic irregularities or peculiarities.
Our Catalogue Nos. 487 and 488 contain indices of
words which drop the visarga after a in the Black Yayur-
veda, indices of vilanghyas i.e., of cases in which e and ai
are modified in sandhi. There are lists of words ending
in n and t. There are works like Avari.ia and Avarni.
There are also works in which the stress sounds in the
Taittiriya Sanihita are registered.
Gaiii, our number 256, registers words ending in
visarga, words ending in vowels, words which are not
joined in sandhi, words which do not change their nakara
and words which change ye into ya. It is divided into 65
sections recording lists of sixty five such changes in the
Sakala Samhita of the Rg-veda.
“ How useful these lists were to the subsequent
writers of Prati-sakhyas and grammars may be seen from
the fact that one of the lists in the Gani has been turned
into a sutra in page 53 of the Saunaka’s Rlj-prati-sakhya
in the Chaukhamba series.’’
From the above it will be apparent how the
brahmins in ancient times were anxious to preserve the
PREFACE.
XI
purity of the text of the Vedas by drawing up lists of
instances of the peculiarities of Vaidika expressions. A
glance at the sections of our Catal. Vol. II on the subsi-
diary treatises of the various Vedas will give more ex-
amples of such lists. It would show how inveterate the
habit of ancient r^is and Munis was to prepare anu-
kramanis of various sorts. That these anukramanis were
useful, goes without saying. Panini and his predecessors
fully utilized them. The Dhatii-pathas and specially the
Gana-pathas owe their origin to these Anukramanis,
Even the sutras are indebted to them. The Gana-patha
^'nd the Dhatu-patha as we find them in Paiiini, are not
the work of one man and even of one generation. The
pathas were being accumulated for generations, and Panini
may have given a finish to them. But still he left many
of them open to fresh additions calling them Akrti-ganas.
Panini had ten predecessors whose opinions he quotes
in his sutras. How much he was indebted to these for his *
sutras, for his nomenclature, for his alphabetic arrange-
ment, for his algebraic technical terms we do not know.
But there are indications in his sutras, that he was much
indebted to his predecessors. For instance, in one place he
says, wn? xftr that is, his predecessors used to call
the third case-ending singular as and not as he does.
The grammarians thought that all words cannot be
derived from roots, so they gave rules for the formation
of ordinary verbal nouns only, from them. But philo-
logists or Nirukta-karas thought otherwise. They attempt-
ed to derive all sorts of nouns from roots. There is only
one grammarian who was a philologist, too ; lie was Saka-
tiayana, the son of r§ji, Sakata. He is said to have written
the Unadi-sutras (in five chapters and 748 sutras) which
xii
PREFACE.
Pftnini did not care to embody in his grammar but left
them out by saying, that is, there is a good
deal of liberty in the formation of such words.
The first work described in this volume is Nandi-
ke§vara-kasika, with a commentary. The names of the
work and its commentary require an explanation. The
Indian alphabet is differently arranged in different schools
of grammar, according to the exigencies of its rules. The
oldest school of grammar called the Aindra School, of
which the modern representative is supposed to be Katan-
tra or Kalapa takes the alphabet as it is. Panini arranges
it into fourteen sutras.^ One of Panini’s predecessors
Sakatayana seems to have arranged it in thirteen sutras, as
its present representative does the same. The Candra
School also has thirteen sutras ; later on the illusory letters
of the sutras were dropped one by one, till in the Mugdha-
bodha we have only three illusory letters in the arrange-
ment of alphabet.
These alphabetic sutras are called Siva-sutras es-
pecially in the school of Panini, for tradition has it, that
he was a favourite of Siva and that he got these fourteen
sutras directly from him. But the god, Siva, is without
action and without attributes. His active principle is
Nandi, the son of a i^i, named Silada. Nandi by his
austerities rose to be the commander of Siva’s followers
or Ganas and a rival of his son, Ganesa. Nandi is often
called Nandikesvara.
In the present work Nandikesvara is made to write
twenty-six verses, giving the highest spiritual interpretation
^ Each sCitros hae an indicatory consonant which forms no part in the
arrangement of the letters of the alphabet. These indicatory letters are generally
called ‘ It*s or illusive.’
PREFACE.
Xlll
to the fourteen Siva-sutras. This is Nandikesvara-kasika.
Its commentator again is another great favourite of Siva,
named, Upa-manyu, who by his austerities rose to such
favour of Siva, that Krana had to curry favours with
him for obtaining a desired boon from Siva. The com-
mentary is called Nandikesvara-kasika-tattva-virnar^ini,
Catal. 4213A.
The work, however, is a modern one. It deals with
such modern theories as the monism of Sankara and his
theory of illusion. It also speaks of Tantric values of
letters. It was certainly composed after the lexicon of
words of one syllable had become popular.
Numbers 4214-42150 contain reading of the sutras
of Paiiini. The age of Panini is a subject of great con-
troversy. Satya-vrata-sama-srami in his Niruktalocana
says that Panini wrote before Yaska’s Nirukta and his
age is 2400 B.C. This is impossible, because the Nirukta’s
classification of words is four-fold, Nama, Akhyata, Upasarga
and Nipata, while Panini’s is two-fold only, Suvanta and
Tihanta. This is an advanced theory and therefore later.
Yaska is a philologist while Panini is a grammarian.
Goldstiicker thought that the sutras were written at least
a thousand years before Christ, when the Brahmanas
were, according to his theory, composed. Dr. Belvalker,
thinks, that he flourished 700 years before Christ. Biihler
thought that he wrote his sutras about 375 B.C. I need
not give other theories. Biihler’s theory was based on
Indian tradition embodied in the Katha-sarit-sagara, in
which Panini is said to have had a controversy on gramma-
tical points with Katyayana, at the court of Nanda, whose
dynasty ruled Magadha from 426 B.C. to 326 B.C. But
this tradition may be neglected as given in a story-book.
XIV
PREFACE.
I have to refer to another Indian tradition discovered
in a work entitled Kavya-nnmamsa recently published in
Gaekwad Sanskrit series. The author of this work, Raja-
sekhara, flourished in the beginning of the lOth century, and
gives the tradition thus :
C\
This shows that Panini was tested at Patali-putra.
This city was founded in the year of Buddha’s Nirvana,
when Ajata-satru was reigning at Raja-grha in Magadha.
Ajata-satru’s second successor Lldayi transferred the
capital from Raja-grha to Patali-putra and it was only
in the capital of Magadha that these great men could be
tested. Some of the Puranas state the exact date of
the transfer, as the fourth year of Udayi, others are not
so exact. The Yuga-purana in the astronomical treatise
• called the Garga-samhita. records only two dates as of
very great importance in the history of India ; one is
the accession of Pariksit on the throne of the Pandavas,
and the other the transfer of the capital of Magadha
from Raja-grha to Patali-putra in the reign of Udadhi,
a misreading for Udayi. So the upper limit of Panini’s
age must be the reign of Udayi, somewhere in the
earlier half of the 5th century B.C. or in the beginning of
the 6th century, if we accept the Singhalese chronology.
Some people are disposed not to attach the same
importance to the tradition recorded by Raja-sekhara
as I do. The reason why I attach so much importance
to it is that it is not given in a story book but by a
great scholar and by the tutor of emperors who ruled over
the greater part of civilised India. Raja-sekhara gives
PREFACE.
XV
this tradition not as an isolated fact, but in connection
with Raja-sabha or assemblies held by great kings for
the reward in literature and science, and he describes
how such an assembly is to be held. In connection with
such Raja-sabhas, be speaks of the scholars that were
rewarded at Patali-piitra and the poets that were rewarded
at Ujjayim. It is well known that great kings from remote
antiquity used to hold quinquennial assemblies tor the
purpose of rewarding merit. One such assembly was held
by Harsa-vardliana at Prayaga when Hiun-tsang was
here. Asoka’s quinquennial assemblies are well known
to scholars. The idea was certainly not original with
Asoka. His predecessors the Risu-nagas and the Nandas
used to hold such assemblies. So the quinquennial assem-
bly was an established institution in India, from very
remote antiquity. If the holding of such assemblies is a
historical institution, why should not these men be tested
and rewarded at Patali-putra, say, in course of three or four
hundred 3 ^ears ?
Rome people say, that the seven men mentioned by
Raja-sekhara were not contemporaries, so how could they
be tested at one place ? But, who says that they were
contemporaries ? Raja-sekhara certainly does not say
so. He has given these seven names in strict chronologi-
cal order. Upavarsa, a great name in Indian literature
first, then Varsa, the teacher of Panini, then Panini him-
self, then Pirigala,‘the aged teacher of Vindu-sara’s sons ;
then Vyadi who was at least three generations after Panini,
as he was a yuva or young member of Panini’s mother’s
family ; then Katyayana, who wrote a supplement on Pani-
ni’s sutras and quoted Vyadi, and last of all, Patahjali who
officiated in the sacrifice of Pu^ya-mitra, the founder of the
Sunga dynasty. From 600 to 150 B.C. there would be 70
xvi
PBEFAOB.
assemblies held at Patali-putra, there is nothing to prevent
these seven great men, appearing in seven of these assem-
blies and being tested and rewarded.
There is another great historical event in this connec-
tion. Every student of history knows that Darius led an
expedition against Greece in 490 B.C. and that there was
an Indian contingent in his army. So, Western India
was conquered some years before 490 A.D. and Taxila,
the great seat of learning in India was at the gate of
India for Darius coming from the West. During the whole
of the long life of Buddha, Taxila was the centre to which
people flocked for superior education, and any one, who
received his education at Taxila, was regarded throughout
India with respect and reverence. When that seat of
learning fell into foreign hands, it is no wonder that
aspirants of literary fame should seek some other place for
gaining their reputation. Under such circumstances Upa-
varsa, Varsa and Panini who all belonged to Taxila and
’ its neighbourhood flocked to the new capital in Eastern
India to be tested and rewarded. Others like Pihgala,
Vyadi, Katyayana and Patanjali came to subsequent
assemblies to be treated in a similar manner either after
finishing their education or after writing some strikingly
original work.
The residence of the ancestors of Pamni was Salatura,
near Attock. His statue was there for
Personal history ot ^ j ^ mentioned by Hiun-
tsang. His scholarship was tested at
Patali-putra, when the Capital of Magadha was transferred
there. He and his contemporary scholars were most likely
compelled to leave the neighbourhood of Taxila shortly
after the conquest of that territory by the Persians. His
mother belonged to the family of Dak^a and Vyadi who
PREFACE.
XVll
was a Dak^ayana was perhaps three or four generations
younger than Panini. The Pahca-tantra says that Panini
was devoured by a lion and Katha-sarit-sagara says that
he had a controversy with Katyayana at the court of
Nanda. Both these traditions are to be accepted with
a, grain of salt,
Panini quotes from ten of his predecessors in the
grammatical line. They were all
Literary history of i • . • i i ' i i • j
historical persons because their sutras
were found quoted in authoritative
works. Their names are Apisali, Asvalayana, Kasyapa,
Gargya, Galava, Cakra-varma Bharadvaja, Sakalya
Sakatayana and Sphotayana. Some were writers of Siksa,
others of Vyakarana. Sakatayana wrote both Vyakarana
and Nirukta. All those made, I believe, full use of the
grammatical Anukramanis of the Vedas at their age. Of
these Sakatayana seems to have been a follower of the
Jaina religion. He is called Sakatayana because his father’s
name was Sakata. He is called a Sruta-kevali-deslyacarya
and Patahjali says that he was so absorbed in his thoughts
that he did not notice a caravan passing by close to him.
The works that go by the name of
Panini’s works.
Panini are —
The word Astaka here means the grammatical sutras
of Panini divided into eight chapters, each divided into
four padas or quarters. The number of sutras is 3983. I
may refer the reader to my work entitled Magadhan
Literature^ page 26, for how this figure has been arrived at.
In writing all these works, five in number, Panini fuUy
utilized the anukramams of ancient sages adding to and
modifying them according to his own need. As I have
XViii PREFACE.
said before the history of these indices would be of the
greatest value if they can be found and I am not hopeless
yet that much of this literature may yet be recovered.
The grammatical activity of the brahmanas did not
end with Panini. There were many lesser lights before him
and after him. The sloka varttikas are not the work of
one man. Many have contributed their quota to these
varttikas. We hear of Tndra-datta, Vyagra-bhilti and
others flourishing between the time of Panini and Patah-
jali. But there were many big lights, one of them was
Vyadi, a descendant of Panini’s maternal uncle in the fourth
generation, that is, in the third generation from Panini. In
our Catalogue there is a short work attributed to him. It
is Pari-bhasa-patha (Catal. No. 4337). But the great work
of Vyadi was his Samgraha in 1,00,000 slokas and with
14,000 points. Bhartt-hari says that the Maha-Bhaiya was
written after the Sahgraha had ‘‘set.’’ But fragments of
it seem to have lasted many centuries, as Jayaditya and
Kaiyyata seem to quote from it. Patanjali was a great
admirer of the work. Katyayana attributes a few of his
Varttikas to Vyadi. Even Padma-nabha in the fourteenth
century quotes Vyadi. In the kosa section of this preface
will be found some works by Vyadi.
The whole of the Pari-bhasa literature seem to ema-
nate from Vyadi (Catal. No. 4337 to 4346 ). Vyadi seems
to have collected the nucleus of the Pari-bha^as and subse-
quent writers have added to them till their number was
fixed by the Vrtti of Sira-deva. The Paniniya pari-bhasa
seems to apply to all schools of grammar. The last word
on the Pari-bha^s have been said by Nagesa and his pupil
Vaidya-natha Paya-gu^de.
The Varttika-patha of Katyayana is represented in
PREFACE.
XIX
this catalogue by No. 2416. A comparison of this work
with the Varttika-patha as given by
Kasi-natha Parava shows that this is
a shorter recension of that Varttika-
KStySyana’s Varttika-
p5th a
patha. The printed text gives a much larger number of
Varttikas than the MS. In the catalogue has been quoted
the first section from both the printed text, and the MS. for
facility of comparison. The number of varttikas as given
in the appendix of Kasi-natha’s edition of Siddhanta-kau>
mudi is 5032, but he adds 34 more as spoken by Kaiyata
and others. These varttikas criticise the sutras of Panini.
To each siltra a number of varttikas is appended. But all
the sutras have not- been criticised, the criticisms are con-
fined to only about 1,500 sutras.
Katyayana is said to have been an inhabitant of
Kausambi about 30 miles to the west of Allahabad, on the
southern bank of the Yamuna, now called Kosam. He
belonged to a powerful family, distinguished for writing
authoritative works on the Vedas. One Katyayana wrote
the Sarvanukramani of the Itg-veda, another wrote a
srauta-sutra on the White Y^jur-veda. x^nother a Grhya-
sutra with 18 appendices. But Goldstiicker says that our
Katyayana, the varttika-kara, was the author of a Prati-
sakhya of the White Yajur-veda.
The relation between Paiiini and Katyayana is often
misunderstood. Some people think that Katyayana was a
captious and a hostile critic and others think that
he was more learned than Panini. But my idea is that,
Panini belonged to Western India and Katyayana to
Eastern India. Panini belonged to the 6th or 6th century
B.C. and Katyayana was much later. So Panini’s sutras
were open to criticism by an Eastern scholar younger
by two or three or more generations. The Vajasaneya-
XX
PREFACE.
sarahita and Brahmana were recent in Panini’s time,
and later they developed into sixteen different schools.
Panini is not likely to have taken cognizance of this
extensive literature of the Vajasaneyins, which Kiitya-
yana certainly did. All these facts go to exonerate Katya-
yana of any feeling of hostility towards Panini and of
being a captious critic. But Katyayana did not write an
independent work as he found it more convenient to
append varttikas, i.e., his criticisms, to certain rules of
Panini. Katyayana was very respectful to Panini, some-
time calling him even “ Bhagavan.”
I have spoken of the authors of sloka- varttikas. Indra-
datta is one mentioned in the Katha-sarit-sagara. 8aka-
vandi is another name given in our Smrti volume (see
Oatal. number 3028).
Sanskrit grammar is said to have been settled by three
Munis. There is a dictum ‘Tri-muni
Pata8jaii'sMah8bh5.y«. ^y^karanam.’ The three munies are
Panini, Katyayana and Patanjah. Something has been said
above about Panini and Katyayana. Patanjali is said to
have written the “ Great Commentary ” or the Maha-bha^ya.
But commentary on what ? Certainly not on the rules of
Panini of which only fifteen hundred are criticised both by
Katyayana and Patanjali. It is not on Katyayana’s
Varttikas, because the first Varttika is Siddhe-sabdartha-
sambandhe while the first sutra dealt with in the Great
Commentary is Atha-sabdanu-sasanain. This may be the
first sutra of Vyadi s Samgraha. Patanjali is an admirer of
that work. In criticising one of the stitras of Panini
(Sutra II, iii, 66) and the Varttika II on the same, he says,
WCPRR wfs! I
and here Dak^yana means Vyadi*
PREFACE.
xxi
The first section of the Maha-bha^ya deals with
subjects which are absolutely excluded by Panini and
Katyayana from grammar. The second section deals with
the Siva-sutras, which are not the sutras of Panini. It is
from the third section that Panini’s sutras begin. What is
the source of the ‘Great Commentary’ for these two
sections. Most probably Vyadi, who wrote an extensive
work measured in hundred thousand slokas and which
Bharttr-hari says contains fourteen thousand points.
Peraonal history of
Patafijali.
Patanjali’s mother’s name was Gonika. He is often
called Gonika-putra. He belonged
to Gonarda, which Varaha-mihira’s
Brhad-Sanihita places along with Cedi
and Kukura in one instance, and along Dasapuraand Kerala,
in another. He seems to have been familiar with Ujjayini
and Mahismati. He often says, setting out from Ujjayini
at sun-rise one could go to the other at sun-set. He was
also familiar with Patali-putra, where he came to officiate
in one of the great sacrifices held by Pusya-mitra, perhaps a
horse-sacrifice, and settled in its vicinity. Reading through
the Maha-bha^ya one is struck with Patanjali’s familiarity
with Patali-putra, its walls, its palaces, roads emanating
from it to distant cities, and even with the guides who used
to ‘ teach ’ Patali-putra. In fact in my Magadhan litera-
ture, I have said that, he was full of Patali-putra. He was
also familiar with Vatsaj^anas and Gargayanas of whom the
former we know from Har^a-carita, were settled at Priti-
kuta in the hermitage of Cyavana twenty-five miles south
west of Patna near the Sona, from remote antiquity.
Patanjali says that he resided with his students for a time
at Kasmira where he ate rice.
He says that he officiated at a sacrifice of Pu^ya-mitra.
xxii
PEEFACB,
He also says that in his time the Greeks beseiged the
, Madhyamikas and Saketa but he did
not see it. It is well known that Piisya-
mitra dethroned the last representative of the Maurya
dynasty at Patali-putra and assumed supreme power
though under the Immble name of Sena-pati. It is also
well known that he performed the horse-sacrifice twice.
It is also known that Pu^ya-mitra fought with the Ctreeks
and defeated them in a great battle. Pusya-mitra’s date,
therefore, is well known. It is about 180 B.C. and he
reigned for 36 years. So the literary activity of Patanjali
will fall between 200 and 150 B.C.
The state of language in Panini’s time was not a very
complicated one. The literary langu-
age was all Brahmanic and what
A.D. 600. Panini calls Bha^a. He has about
1600 rules out of, say, 4000 for the
obsolete or the obsolescent language of the Vedas. He has
separate rules for rks., yajus, mantras, brahmanas and
the general vaidika language or chandasa. He had not to
guard the language against the inroad of vernaculars,
though the vernaculars were getting pretty strong for a
century or two before him. Sisu-naga is said to have pro-
hibited the use of Ta, tha, da dha, na sa, §a at the court of
Magadha. That shows he was a vernacularist. The liter-
ary language at the time of Panini, however, was not much
afraid of the inroad of the vernaculars. But in Patan-
jali’s time the case was the reverse of it. The preachings of
the Buddhist and Jaina monks had given a literary charac-
ter to many of the vernaculars, and there was the mixed
language in which the books of the Maha-sahghikas were
written. Asoka and his successors issued their edicts in the
vernaculars of the provinces.
PREFACE.
XXlll
Patanjali had to guard the Brahmaiiic language
from contamination with these. In the
The Asoka inscriptions.
very opening of his Great Commen-
tary, he speaks of the pure word ‘‘ go ” being changed into
“gavi,” “goni,” etc., but that they are all wrong while
“ go ” is the only correct form. But a keen observer like
Patanjali did not fail to perceive that the vernaculars will
gather strength and popularity. He therefore confined
himself to the language of the Ristas, that is, of brahmins
living in Arya-vartta, that is, practically the Madhya-desa
of Manu, who were wealthy enough to have a store of
grains for a year, who were experts at least in one of the
branches of knowledge of the brahmins ; who were disinter-
ested and not avaricious. He made his grammatical rules
for this class of men, and he often appeals to their usage.
He made his rules for a highly cultured class of brah-
manas. Their number, however, dwindled century by
century 4nd at last in the 7th century Sanskrit ceased to
be a spoken language. Sanskrit grammar in subsequent
centuries dropped the pitches of pronunciation altogether
and Sanskrit became a purely dead language.
The services of Patanjali as a grammarian are simply
invaluable. But his Great Commen-
tary is a store-house of information
about ancient India, in all matters
social, political, literary, scientific,
philosophical and so on. But in this preface 1 am con-
cerned only with grammar.
The learning and power
of observation of
Patafijali.
Patanjali is said to have consulted the Curni-Vrtti on
Panini, a Vrtti written long before Kasika. It is some-
times called Cunni-bhatti- vrtti or CuHi- vrtti. Nirtura is
said to have been another v^tti-kara, (see preface to Nyasa
by Babu Srisa Candra Cakravartti).
XXIV
PREFACE.
The study of the Maha-bha^ya or the Great Commen-
tary with Panini and Katyayana was
bhsaya ^ arduous work and therefore, we
often hear that the Maha-bha^ya dis-
appeared from the field of Sanskrit for many centuries in
many places. In Kasmira, Abhimanyu is said to have
reintroduced the Great Commentary during his reign.
Bharttr-hari revived the study of the Great Commentary
and Panini in the 7th Century A.D. In the same century an
attempt was made by the Buddhist commentators of Panini
to deduce every grammatical fact from the sutras of Panini
themselves rejecting the Great Commentary altogether.
This produced the Buddhist commentaries Kasika, tlie
Nyasa and others. A further attempt was made to restore
the Great Commentary at Kasmira by Kaiyata, who wrote
the Maha-bhasya-pradipa, but that made the study of
the Great Commentary still more arduous. During that
time the study of the Great Commentary remained in
abeyance, smaller works of the nature of school books
came to the fore and satisfied the need of ordinary people.
But about the time of the Muhammudan conquest panditas
began to have recasts of Panini. The rules were not newly
made, but, were differently arranged with omissions of
these that are not necessary, for such Sanskrit works as
are studied at the time, and at the place of writing these
recasts. High class sannyasis, however, always stuck to
the A^tadhyayi and to the Great Commentary,
The Marathas, in the 16th and the 17th centuries,
made a vigorous attempt to revive these works, and wrote
commentaries on the Great Commentary, The last and
the most extensive of these is the Bha§ya-pradi-podyota.
But all their attempts failed and the field all over India, is
held by the recasts of Pardni and some school books.
PREFACE.
XXV
The next great name after Patanjali in the matter
of explaining the Agtadhyayi of Panini is Kaiyata. His
father was Jaiygata. He was most probably, as the name
indicates, a Kasmirian. Kaiyata’s date is not known,
but he probably flourished in the tenth century of the
Christian era. There is a gap of nearly 1200 years between
Patanjali and Kaiyata, yet Kaiyata is a direct follower
of Patanjali in the direct line of orthodox school of Panini.
The intermediate writers on Panini were mostly Buddhists.
They did not much care for Patanjali. Kaiyata has made
use of older grammarians, of these two are Apisali and
Kasa-krtsna. Apisali is quoted by Paiiini himself and
Kasa-krtsna is several times mentioned in the Maha-bhasya.
As 1 have said before in the paragraph dealing with
Katyayana, Kaiyata has quoted 34 more varttikas than
Patanjali. Kaiyata was a pupil of Mahesvara.
Kaiyata has been commented upon by Nagoji Bhatta
who was a Maharastra brahmin and who derived his liveli-
hood from Rama, a king, or petty Raja of Srhgavera-pura,
a feAv miles north of Allahabad. His father was Siva-
Bhatta and his mother was Sati. He was the pupil of
Hari Dik^it, the grandson of Bhattoji Diksita. Nagoji
Bhatta died at Beneras, so the tradition says, on the day
Warren Hastings was beset by a furious mob at Beneras in
1775 A.D. Dr. Belvalkar on the authority of Durga-
prasada, the learned editor of the Kavya-mala, in his intro-
duction to the Rasa-Gahgadhara, says that Nagoji Bhatta
was invited by Sevai Jaya-Simha of Jaipore in the year
1714 at his horse-sacrifice. But Nagoji excused by saying
that he has taken a vow not to leave Beneras in his life
time.
Anupa-Siipha, the Raja of Bikaneer and one of
Aurungjeb’s generals, availed of the aid of Nagoji in
XXVI
PREFACE.
writing a work on Smrti, the draft of which with interlinear
corrections is to be found in the library of the Asiatic
Society of Bengal. Nagoji Bhatta was a man of great
learning and has written commentaries on standard works
of various sastras. His Commentary on Kaiyata’s Pradipa
is known as Udyota or light.
Nagoji had a pupil, named Vaidya-iiatha Paya-gunde,
another Maharastra brahmin of Beneras better known as
Balam-Bhatta. He commented upon the work of his guru
and called it ‘Cliaya.’ Balam-Bhatta, too, was a man of
great learning and wrote commentaries on works on Dharma ;
Poetics and Vyakarana.
Bhattoji Dik^ita, whose Siddhanta Kaurnudi is tlie
standard work on Panini’s school of grammar, wrote a
commentary on the Great Commentary. This commentary
was entitled the Sabda-kaustubha. Aufrecht says, that
this commentary went up to the first pada of the first
adhyaya. Dr. Belvalkar says, “ This was left probably
incomplete though he must have written as far at least as
the fourth ahnika of adhyaya three.” But our Catal. No.
4224 has a colophon ‘the first ahnika of tlie first pada
of the fourth chapter.’ It is in the course of publication in
the Chowkhamba series. It is a voluminous work and
Balam-Bhatta wrote a commentary on it entitled Prabha,
stiU more voluminous a work it must be.
It is said, by all authorities that Sabda-kaustubha is
a commentary on the A^tadhyayi, but in the colophons of
the MSS. of that work in this Catalogue from 4224-4227
the Ahnikas are always mentioned. A^tadhyayi has no
division in Ahnikas, while the Maha-bha^ya has it, there-
fore, this is a commentary on the Maha-bha^ya and not
PREFACE.
XXVU
on the Ai^tadhyayi. This is proved by what Bha^toji
says in the preamble of the Sabda-kaustubha —
I That is, I am picking the jewel of
Sabda from the ocean of the Great Commentary spoken by
Phani or Patahjah. After completion of that work he
wrote 71 Karikas, commencing with —
I I have picked up the jewel of Sabda from
the ocean of the Great Commentary spoken by Phani or
Patahjah. What has been settled there is now being spoken
ill brief. Thirty-five of these seventy-one karikas have been
commented upon by Vana-mali Misra who was a direct
disciple of Bhattoji. This tika is given in our Catal. No.
4229. All the 71, however, were elaborately commented
upon by Konda-Bhatta, who was the brother’s son of
Bhattoji under the title of Vaiyakarana-bhusana-sara or
simply Bhusana which has been printed in Beneras. So
the Sabda-kaustubha was a commentary not on the Astil-
dhyayj but on the Maha-bha^ya and it was finished by
Bhattoji. It has another commentary called Prabha,
Catal 4228.
The orthodox Brahmanical commentaries on Panini’s
sutras have come to an end. The Buddhist commentaries
will now be taken up. The Buddhists for a long time did
not follow Panini. They began writing in the district
dialects, then came the mixed language, and after that, Sans-
krit of a sort. Even the best of the Buddhist Sanskrit
writers, used expressions which are not sanctioned by
Panini. Asva-ghosa’s Buddha-Carita and Saundarananda
written in the first century of the Saka era are instances
in point. But, in the seventh century they, too, began to
study Panini. But, they did not care for Patafljali. They
wanted to depend entirely on the sutras of Panini and in a
less degree on the varttikas of Katyayana. Their best
xxvm
PREFACE.
kilown commentary is the Kasika in which all the sutras
of Panini have been commented upon, without any omis-
sion and in the order in which they appear in the Siitra-
patha. Tlie authors of the work are Jayaditya and
Pa-inana. Both lloiirislied in Kasmira and in the Ttli
ctaitury. Belvalkar says “ Tlie concurrent testimony of
MS8., from all parts of India assigns to Jayaditya the
authorship of the tirst, Hve (diapters of it, wdnle the last
thn^e belong to Vamana, who, (Belvalkan p. .*16) probably
(^ajiie soon after Jayaditya.*” Bliattoji finds dift‘erenc(‘
in th(^ views of th(^s(‘ two authors. The orthodox Hindus
did not like this new^ commentary. Magha in the second
canto of Sisu-prda-vadha sj)caks disparagingly of this sort
of commentary. He compares politics without sj)a8a.
spies, with grammar without ])aspasa oj* the niiu' hist
ahnikas of the Maha-bhasya. Some t hink that Vamana, w as
a minister of Jaya})ida of Kasmira and that tlu' King
Jayapida w^as Jayaditya hims(‘lf.
Kielhorn says “ Phe text of the Astadhyayi as given
in the Kasika differs, in casi' of hiS rules, from the text
known to Katyayana and Patahjali. Peii of these 58 rules
are altogether fresh additions, nine are a result of se])arat-
ing (by Yoga-vibhaga) the original 8 siitras into 17.
In nineteen cases neAv words have been inserted in the
original sutras, while in the rest there are other changes in
tlie wording etcetera of the sutras.” Some of these
changes were suggested by Katyayana and Patahjali and
others were taken from ( Vandra-gonii’s grammar. It-siang
says that » Jayaditya died about 060 A.D.
In the Kasika the commentary on Panini’ s sutras is
preceded by a commentary, short though it is, on the
fourteen Siva-sutras.
PREFACE,
XXIX
Ktlsika had many commentaries, the best oi them is
by. Jinendra-bnddhi. The work is called Nyasa, or Kasika-
vivarana pafijika. The C^ommeiitator is described as Bodhi-
sattva-desiy-acaryya, that is, a teacher little less than a
Bodhisattva. This stamps him as a Malia-yanist writer.
The word Panjika requires an (‘xplanation. Inhere arc
tliree classes of eommentarh's, Tika or iaghu-tika: \'rhat-
tika : and Panjika. Tlu^ first two terms require no ex})lana-
tion, one is notes and the other, a running (•oiumeiitary,
but> the third nutans sarvartha-bhanjika, that is, ex])laining
everything arising out- of the ti'xt. The Nyasa is \\ritten in
the same style as tlie IVlaha-bhasya and gives us a good deal
of eontenjporary information as the (heal Commentary.
Belvalkar says, As to ins date he can not be later
than 750 A.D., seeing that h(‘ is referred to by Bhamaha,
who says that, a poet, should never employ a compound in
\Nhich a verba] derivative in Trc is cojnponnd(‘d with a
noun in the genitive case and adds that lie should not
support such usage by tht' authority of the Nyasa, which
presumably is the same as tins work.” Ihit this is un-
convincing as there were other works entitled Nyasa before
Jinendra-Buddhi-Bana speaks of one.
The work Nyasa has been printed and published l)y the
Varendra-Research Society under the editorship of Paiidita
Srisa (^andra ( 'akravartti, Reader, Dacca University. He
had a good deal of trouble in collecting the MS8. of this
work. A complete MS. was nowhere found. He had to
pick up different parts of the work from different places
tliroughout India. He has done a good deal for the
Buddhist Commentaries on Panini.
There is another commentary on Kasika, called Pada
mahjari by Hara-datta, a brahmana of Southern India
XXX
PREFACE.
son of Agnikumai’. He is said to have been an incarnation
of Siva, in a Purana. Hara-datta is to a great extent in-
del)ted 1o Kaiyata so he must come in the 11th century.
He is quoted by Madliavaearya and Malli-natha. Though a
little out of tlH‘ place here, as I want to finish the Buddhist
commentaries on Panini, so 1 venture io speak something
of th(‘ Bhasa-vrtti and its commentaries. One of the
commentators sa^ys that Laksmana-Sena, tlie last King of
Bengal, wantcal lo hav(‘- a Sanskrit grammar without the
Vedi{*, andiaisms and tluar ])honology and so he (unployed a
Buddhist scholar of gri‘at reputation, named Puriisottarna-
I)(‘va, t-o writ(‘ such a gramma.r. This is Bhasa-vrtt i. It is
Pai}ini\s sutras without svara and vaidiki. The se(*ond
pada of th(' sixth (ihapter deals ejitirely with svara, so the
Bhasa-vrtti omits it altog(‘ther. The Bhasa-vrtti was
comnuMited upon by a l>engali brahmin, Srsti-dhara-Oakra-
varti ill th(‘ 17th century A.l>. most probably by the
middle of it. The commentary is rather diffuse^ and
wanting in originality, therofor(‘- the (alitor Srisa (Jandra
did not like to publish it. Th(W(' is another commen-
tary, by Visva-]*upa called Pahjika, which is given in No.
4250 of tins Catalogue. Visva-rupa says that, the Bhasa-
vrtti had many camimentaric's before him, still he attempts
one, because when t he parrots and peacocks sing should not
the tittibha chirp ?
Th(‘ ac(;('ssari(‘,s to the study of Panini are seven al-
together. (1) Gana-patha (2) DhMai-
Acc.eHf'One'- tu th (' t li-i
patha (3) Linganusasana (4) Siksa
(5) Tnadi-sutras (6) Phit-sutras (7)
I ^aribhasa -s u tras .
(1) Gana-patha, Gana means a list of words under-
going a common grammatical change. The formation of
PREFACE.
XXXI
(Dallas is the direct result of the habit of the ancients
in India to write Anukramanis. There is a book in which
all these (hii.ias arc put together and it is attributed to
Paniiii. Panini niiglit have edited theni to serve his own
])urpose. Put tradition has it tha.t even Sakatayana had a
(hina-patha. T1 k‘ (hinas are of two kinds, eonipkde (lanas,
and Akj’t i-ganas. In tlu' first, all the words in a (dai.ui is
ejuiineraied aiul, in tlK‘ second, th(‘ eimnieration is not
exhaustive, only a few leading types are gixaui and the
student is left to decide trom similar grammai i(.‘al changes
whether a word is to be tak(ui in or not. In the Asta-
dliyayi, Panini gives only the first word of a (tana and then
tlu‘ word ‘‘adi 1die (‘xhaustive enunieration of words in
the (kina is Icdt for tiu* (tana-patha. Many people* suspe(?t
t hat these ( kinas have^ b(‘en tampered with in subsequent
(‘(‘jiturit's. liut all agree that, the text as wc* ha-ve it-, is
settled l)y Panini. In the* Akrti-ganas the qu(‘.stion of
tampering does not arise*. New^ words are* added by the
studeuit from similarity of changes. The (lianas are arranged
ace‘e)rding to tlie Asttielhyayi Siltra-patha. There* are*, al-
together 258 sutras in whie^h the (tanas occur. Our (-atal.
No. 4856 and 4856 P> are abjidgments of (tana-jKitha, the
former by Rama-Krsna and the* latter by Oeya-eieva whe)
gives only the ganas of nouns.
(2) h]very grammarian had to make his own list of
verbal roots from tiie pre-existing
Dlifitu-pcitha > T 1 -
indices. Panini s Dliatu-patha consists
of 1944 roots, plus 20 Srauta dhatus which have to be
picked up from the siitras of Panini. The works on roots of
the school of Panini have many commentariexs. Our 4350
is by Ksira-svami, the Kasmirian. ft gives the 'meanings of
roots. Numbers 4351 to 58 are by Bhima-sena and 4854 is
by Maitreya-raksita, one of the Buddliist commentators
XXXll
PREFACE.
of Panini. Tt is later than Bhima-sona. Maitreya flourish-
ed aceordiunj to Srisa Babu about 1 100 A.D. The "reat-
est work on Sanskrit roots of this school is by the well
known Madhavacaryya. It has been published in the
Mysore Sanskrit series. It is of an encyelopedie eharae-
t(n‘. P>a[)u Srisa Candra has writtcni a (a)innientary on
tJie Dluitii-Pradipa by Maitreya in his edition ])u})lish(al
by Vclrendra Pesearch Society.
(o) Paniiii’s Lihganusasana consists of LS? sutras.
Unlike modern languages, Sanskrit has
Lingaiiu HtihaiKi. ^
a gender for every noun, not nc^ces-
sarily determined by the sex. The Lihganusasana gixes
ruh's for determining the gender of nouns.
(4) The Paniniya Siksa and its commentaries liave been
^ . described in the second volume of this
I’niiitiiyH SiUnn
Uatalogu(‘ from 1500 to 1508. This
Siksa consists of 58 or 59 couplets, but there is a
copy of this work, No. 444 of the 1.0. Uatalogu(‘,
whicli consists of 21 couplets only. Belvalkar says,
the Siksa boars, on the face of it , the stamp of modernness,
notwithstanding the fact, that a verse from it has found
its way into the Maha-bhasya. It seems that there was
a short work in 21 verses which was ancient and from
the pen of Panini, but much has been added in more
modern times. ( Vide pages 32 and 33 of my Magadhan
literature.)
These four are given in an ancient couplet as coming
. from Panini. The other three seem to
IJiiridi -sutras.
be of different authorship. The l^nadi-
sutras are attributed to Sakatayana by Kasi-natha Pandu-
ranga Parava, the Bombay editor of the Siddhanta-Kau-
mudi dated Saka 1816. It is in five chapters. There are
TREFACE. XXxiii
authorities both Indian and European for attributing this
work cither to Pai.nni or to Katyayana, but the (treat
roniinentary says,
that is, I^anini was not a Vyutpatti-vadi. That is, h(‘ did
nol hold the vicnv that all tlu^ words in the Sanskrit langu-
age (‘an be derived from Sanskrit roots. So he did not
write the rnadi-sfitras but left them out by sayino;
I On the other hand Sakatayana held th(‘
\'iev that- all Sanskrit words are derivable from Sanskrit
loots. So T think Kasi-natka is right in attributing the
rnadi-sutras to Sakatayana (vide p. 200 of Parav’s Sid-
dhanta Kaumudi Parisistani vide also my Magadhan Lite-
rature, pages 3)^ and 34). TIkuh' is a eommentary on Lhiadi-
sfitras l)y I \j jvala-datt a. It has t wo recensions. The litho-
graphed edition has tcui seet-ions, while Aufrecht speaks of
ti\e. T jjvala-datta is later than Maitreya-raksit whom he
enumerates as one of his authorities. Some say the Unadi
Sutras ar(' by V4ira-ru(‘i. (Ree section on Vara-ruci.)
Thc^ Pint sutras treat of phonetics. Ev(Tybod\
agrees that these sutras arc' tlu* work
Pint Siitrfls _
of Satariavacarya. The sutras are
divided into 4 chapters and number 87 in all. Max Miiller
says, that they are pre-Paninian, but Goldstiieker says
tliat they are post-Paninian. Some of the Indian
commentators support Goldstiicker. {8ee Magadhan
Literature, p. 34.) It is called Phit-sutra because the first
sutra is I Phis when coupled with other words
will be Pint.
The Paribhasas number 134. These are axioms or rules
of interpretation. Such rules must exist
Panbh^a Siitras
from the begining of the sutra litera-
XXXIV
PKEKA(?K.
1 \m\ WliPi’eevc.r thrre are sutras, 1 here' imist he rules for tlie
interpretation of the siitras. Tlu' present J^aril)hasa-})atha
is a eollection tnade, in later times some unknown
author and tli(‘ir usefulness beiiig apparent, they have
repeat(‘(lly been eommented upon. Paribliasji exist(‘(l before
Panini. H(' made some, Katyayana and Patahjali made
others, and the unknown author add(‘d some. In the
])resent Catalogue tlieiv is a. PaTibhasa-patha attril)uted to
Vyadi. It is called \^yadi-\ iracita-Paniniya-])ari])hasa, No.
4337. The nundxTS of Paribhasa |)atlni arc^ from 433S to
4340. Its commentaries are trended of from No. 4341 to
4347. The commentaries ar(‘ l>y Sira-(hoa. Nagoji-Bhatta
and Vaidya-nat ha Paya.-gun(b‘.
Tlie philoso])h\ of grammar was neve'r trcnited of
lihat tr-iuiri’h X'akvH -
pacilya.
separate'ly before tlu^ time of Bharttr-
hari, who di(‘d according to It-siaiig,
in ()5() A.I). He is said to have' wr itten
a. ('ommeuitary. on the Maha-bhasya. (iana-ratna-maho-
dadhi says, that Bharttrdiari explained only the' hist tluee
})adas of the JVlaha-bhasya and Bidder says that, fragments
of tht‘ commentarv are' to be found in the' Ueiyal Library of
Berlin, ami in the Deccan, ilelvalkar says, that the work
has not yet seem the light. We know that in the 17th
cent ury Bhattoji after writhig aeomnu'ntary on the Maha-
bhasya. wrote 71 verses, on the philosophy of grammar.
Bharttr-hari, thousand years bedore, seems to have done
the same thing, that is, after writing a commentary on
the Maha-bhasya, he wTote a short metrical work, on the
philosophy of grammar, in three chapters, called the
Vakya-padiya. This short work would have no meaning
Avithout a commentary on the Maha-bhasya.
The grammarian Bharttr-hari is often identified with
PREFACE.
XXXV
the poet Bharttr-hari, the writer of the three or four
Satakas. This is at best very doubtful, for the earliest
quotation from the poet Bharttr-hari is by Ksemendra in
the 1 1th century.
The grammarian Bliarttr-hari laments the corruption
of the text of the Maha-bhasya, which, ho says, Candra-
carya re-edited shortly before his time.
Dr. Belvalkar thinks that this (Jandracarya and
C^andra-gonn are one and the sanu^ ])erson. This also is
extremely doul)tful. Oandra-goini, as I will presently
sho\A\ was an l^kist Bengal man and most probably a
Ihjddhist. Jhit Candrac^arya seems to be a Brahmanical
writer, and Oandra-gonn does not make much use of the
Maha-bhasya, though most of his sutras liav(5 been taken
from Pilnini.
The historical informations that we glean tiom the
Vakya-padiya and its commentaries, are these : — Vyacli
wrote a work in i()0,()d() slokas entitled Haingraha, but in
course of time people anxious to get a knowledge of
grammar in a short times neglecteul its study, and so the
work perished. Patanjali wTote the tireat Commentary,
containing the germ of all theories, froju the iSaingraha.
But ordinary peo])lo could not study it all. There were
grammarians, Vaiji, Saubhava, and Haryyaksa and others
fond of useless controversy who made the work written by
that Rsi from the Samgraha, still more difficult. So the
Sastra of Vyakarana was lost to those who wanted to study
Patanjali. Tn course of time that work remained in the
Deccan only as a manuscript. Caiidracarya, Vasu-rata and
others getting the Sastra from Parvata (the Commentator
says, a part of Telingana), gave currency to it. The
XXXVl
PREFACE.
author’s guru Vasu-rata, prepared for us ’ this short work.
Tho eojiiiueutator says, that Bharttr-hari attributed liis
work to his guru. Knowledge becomes clear by the help
of Sastra and philosophy. Merc logic can give very little.
Without Purana, without Agama and without the advice
of old people knowledge cannot be clear.
The Vakva-f)adiya should be ])roperly called Varna-
vakya-padiya, for the first Chapter treats of Varna or
articulate sound, though it is called Jh'ahiiia-Kan<}a. The
s(‘cond Kaiyla treats of Vakya oi- sentence aiivl t he third of
Pada or words. In the first Kaiula are given all th(‘ various
theoi‘i(‘S about sound, or ratluT articulate sound, and the
relation of words with th(ar meanings. It quotes extensively
from Sanigraha, which, it^ decTar(‘d, had ptaished. These
may b(‘ second-hand quotations.
The commentary of tho lirst Ivamja, as printed in the
Benares Sanskrit Series, is by Hari-vi'sabha : the commen-
tary, on the second Kaiuja, is by Punya-raja. He says, that
ITajanaka Sura-v arma wrote a commentary on the second
Kamla, by hearing from one, who was extoled by learned
nuMi every wlK‘re. Sasahka was ])erhaps a disciple oflStira-
varma. From Sasahka Punya-raja got explanations which
he ha-s ])ut togcdtier in this commentary. The tkird Kanda
has beeji printed with the (commentary of Hcla-raja, the
son of Bhuti-raja.
There is a w ork entitled Bhaga-vHti. It has not yet
been found v\i)u in fragments, but it is extensively quoted
by Kramadlsvara, flumara Nandi, (joyi-candra and the
Buddhist commentators of Panini. One commentator of
the 17th century named Srsti-dhara attributes it to
Bharttr-hari and Babu Srisacandra Cakra-varti has tried to
PREFACE.
XXX Vll
prove that it is by Bharttr-hari, but the facts and argu-
ments he has put forward are absolutely unconvincing ( see
his preface to the edition of the Nyasa, page 14 and note 17).
He says “ It-siang in a part of liis book, makes
the author of a commentary on — He calls it ‘‘ Pei-
na,” which is surmised by tlic Japanese translator (Mr. J.
Takakusu) to be the Veda-vrtti” or ” (17). Says
It-siaiig A person wlio has studied so far as this book, is
said to have mastered (Irammatical Science.” Now this
‘‘Pei-na” is pro})ably the w4iich is a commentary
on the ”.
And in note 17 he says, “May not the “Veda-vrtti”
as well be a corruption of the word i.e.,
UTir^f^ ?” Again he says, the author of the
a commentary on tlie by
remarks in the end of the book —
No reliance can be placed on any historical statements
Hrsti-dharacarya as he belongs to the 17th (bntury and
0 North Bengal. In this very quotation he confounds
Bhatti and Bharttr-hari, for Sridhara-sena was the patron of
Bhat4i, the poet, and not of Bharttr-hari, the grammarian.
Our number 4254A is a fragment of an interesting work
ef uting the opinion of all jirevious commentators on Panini
aid establishing his own. It is by Cakra-pani, the author of
^rakriya-pradipa and the pupil of 8esa Viresvara. We
Lave not got the first leaf, Eggeling (Catal. No. 728.) has it
mt he missed the name of the author and of the book which
re there. The author is Cakra-pani and w^ork is Paramata-
handana.
XXXVlll
PREFACE.
Ain D RA-GRAMM AR.
It has already been said that there were grammars
before Panini and the first place, among these grammars, is
given to the Aindra school, liidra is said to have studied
grammar with Vrhaspati and tliere were no rules. Vrhas-
pati was the teacher, and Indra was his student. Thousand
years ])assed yet they did not go far in their knowledge.
So rules were made and a beginning made of tlie science
of language. Sayana says, in his commentary on the
Taittiriya Brahmana, that, before Panini, there was a
Srauta Vyakarana. He might have meant the Aindra
Vyakarana. No ancient work of this school has come
down to us. The only grammar of this school, that is
extant, is the Katantra or the Kakxpa. It takes the
alphabet as it is, and attempts at no Siva-sutras. Its
nomenclature is taken from the ordinary language, and
they are not algebrical, like those of Panini, and the
subsequent schools. The Pratisakhyas seem to be the
ancient, representatives of this school. But they do not
count as they are not treatises on grammar.
The Kalapa Vyakarana had its origin in Southern
India in the 1st Century A.D. One of the Kings of the
Sata-vahana dynasty took a wife from Northern India ;
she spoke Sanskrit which he did not understand, and often
made curious and ludicrous mistakes. At last unable to
bear the jeerings of his wife, he made up his mind to study
Sanskrit, and asked his Pandita Sarva-varma to write a
treatise on grammar, that would give him a workable
knowledge of Sanskrit. Sarva-varma produced a grammar
which in six months gave the king what he wanted. This
tradition is given in detail in H.P.R., III, 50. The work is
called ‘ Katantra ’ or, a short work. It is in fact a Sanskrit
grammar for beginners. How short it was, we have no means
PREFACE.
XXXIX
of ascertaining ; for being very short many people threw into
it rules that were likely to make it more useful. It had no
rules for Krts or verbal nouns. That chapter was added to
it by Katyayana. Similarly, sections on Taddhita suffixes
were also added.* Belvalkar says, “ Thus instead of nearly
4000 sutras of Panini, Sarva-varma could finish his work
in about 855 sutras or including the Krt section, 1400
sutras only.” The Dacca edition says tliat the numlier
is 842, Eggeling's edition gives the number as 829.
How short Katantra grammar Avas, may be inferred
from the two chapters ((bs. 203 and 204) in Gariida-
purana devoted to it. Panini’s name was most pro]>ablY
lost at the time Avlien Garuda-purana was written.
These cha])ters were written in the form of an interlocution
lietAveen Kumara and Katyayana ; both the chapters begin
with the Avord Siddha, iiKvining current and ordinary.
Ghapter 203 liegins Avith Siddha-sabda-vivekaya and chaj)-
ter 204, Avith Siddhodaharanani. (diapter 203 treats of
conjugation and declension. It simply gives the sutras of
Katantra made into verses. The Krt is treated in one
single verse at the end. Chapter 204 gives current exam-
ples of sandhi, samasa and taddhita very briefly though. Lt
gives also similar examples of lihganiisasana and sarva-
nama. Most of the examples are found in the Katantra.
In speaking of Katantra grammar I am referring to the
East Bengal recensions of it.
The inference from my study of these tAvo chapters is
that Sarva-varma being a clever teacher for royal ])upils
taught some topics of grammar by sutras and others by
examples only. Subsequent redactors added rules for
which he gave examples only. So originally as the Katan-
tra came out from the hand of Sarva-varma, it did not
xl PREFACE.
contain a quarter of the rales, as are now credited to
him.
If litis be the condition of the Katantra grammar in
Gariida-purana, it will be interesting to know when the
(Tariida-pnrana was written. I have said, under head
Garada-piirana, in the preface to the Purana volume of
this Catalogue, that it was writteit during the early years of
the (bipta supremacy in India. The grammar gradually
developed in two recensions, one in Kasmira and the other
in Eastern Bengal, where they are still cuirrenl.
In the eighth century a comprehensive Vrtti commen-
tary was written on the Katantra, as it tlien stood, by
Durga Siniha, who is generally regarded as belonging to the
Saiva sect. He is put dowm in the 8th century, because, he
is quoted by Hema-candra in the 12th, and he quotes frojn
Candra Vyakarana. But- it is not known wliother Durga-
Simha kneW' the Kasmiriai^ recension.
Belvalkar says that, the earliest commentary on
Durga Siinha’s Vrtti is Katantra-vistara by Vardhamana,
wliose patron w^as Kari.ia-deva ( See Preface to my Nepal
Catal. p. vii ). In the Darbar Library, Nepal, there is a
copy of it written in 1533 A.D. Vardhamana’s Vistara
has a sub-commentary by Mahamahopadhyaya Prthvi-
dliara.
Soon after Vardhamana, came Ka tantra- vrtti -pah jika
by Tri-locana Dasa (4376 to 4381 of this catalogue). It has
been quoted by Vopa-deva in the 13th century and by
Vittala, .the commentator of the Sarasvata.
Durga Siniha’s Katantra- vrtti has a number of
commentaries. The first and the most important of which
PREFACE.
Xli
is by his namesake, Durga Simha, who invokes Buddha
in his Mangalacarana. This commentary is called Tika.
Then comes the Pahji or Pahjika, by Tri-locana Dasa. who
is quoted by Vopa-deva. The Dacca edition publishes
these commentaries in full, and as an appendix adds
Kalapa-candra on the Pahjika, by Susena Vhdya-bhusaiia,
also called Kavi-raja.
Durga-vakya-prabodha by Kula-candra is a commen-
tarj' on the Vrtti by Durga Simha. The writer describes
himself as the son of Visva-mahndhara.
Akhyata-pahjika-vyakhya by Nara-hari aims at setting
right, wrong interpretations on the Pahji. (H.P.R., 1, 20. j
Kalapa-pradipa by Vidya-sagara, tlie son of Maha-
mahopadhyaya iSrikanta Panclita, whose proper name
appears to be Pundarikaksa, is a commentary on the Tika.
This Vidya-sagara has written a commentary on tlie Bhatti,
the grammatical doctrines of wliich agree with that of his
Pradipa, no complete and satisfactory MS. of w^hich, how-
ever, has yet been found. (H.P.R., I, 50.)
Vara-ruci, is said to have written a commentary on
the Katantra Sutra, entitled Katantra- vrtti. The Vrtti
seems to have undergone a revision in the hands of Yaso-
mana ; but there is a suspicious look about it. The invoca-
tion is identical with that of Durga Simha, though a
comparison shows that this is a different work. (H.P.R.,
I, 51.)
Hari-rama wrote a commentary most likel}^ on Durga
Simha’s Vrtti. (H.P.R., I, 52.)
Vidyananda by Vijayananda, (Catal. No. 4399, Au-
frecht in his Catal. vol. II calls it Katantottara or Siddha-
nanda) is a commentary on Durga’s Vrtti.
xlii
PREFACE.
Kat antra, being a very short school book, people
want(‘(l to make it a compreliensive work; the standard
work of a powerful school. This they accomplished first by
writing commentaries: commentaries on commentaries;
and (‘V(ui commentaries on the third or fourth remove.
Not satisfied witli tliat, people began to write su])plements.
Of these supplements the most im])ortant is by Sri-pati
Datta, wJio su])])lemcnted almost every section of the work,
with additional matters. Sri-pati had a powerful commen-
tator in (io])i-natha Tarkacarya., son of Acarya-siinlia
Pasupati ; who wrote Parisista-])rabodlia (C^atal, No. 43870
-4890).
Siva-rama’s Siddhiinta-ratnankura is a eommeJitary
on Sri-pati’s supplement. (Oatal. No. 4392.)
Katantra-eandrika by Itama-dasa ( 7ikra-vartti is a
commentary on a portion of Oie su])plement of Katantra.
The author acknowledges his obligation to Gopi-natha
specially. Rama-dasa consulted later works of many
schools. He comes after Vidya-sagara. The same Gopi-
natha had a most- appreciative commentator in Saiikara
Sarrna, who in his KatantTa-parisista-prabodha-])rakaMka,
compares grammar to sugar-cane and logic to the machine
which extracts juice from it ; and recommends his readers
to drink plentifully the juice extracted from grammar
by logic.
Sri-pati Datta/s su])plement (Oatal. No. 4385-4387) was
further supplemented by Tri-locana,
Katantia-paneista and differentiated from Tri-
its coniijientanes.
locana Dasa, the author of the Panjl-
Tri-locana belonged to the Vaidya caste and was the son of
Madhava Dasa, whose title was Kavindra. Sri-pati did not
PREFACE.
xliii
say anything about dhatu and taddhita ; Tri-locana supple-
ments that defect and adds some siitras on samasa.
Kalapa-tattva-bodhim (Catal. No. 4391) in three
parts, is a dissertation on various parts of Katantra by
Rama-candra, the son of Hari-hara, belonging to the family
of Kanji whose later residence was the village Ut taracaiva
and whose ancient residence was Siva-pura-tapaka. Kama-
candra appears to have been a Maithila Brahmana who
invaiiably mentions the names of two residential villages,
one ancicmt another re(;ent, in giA ing a deseri])tion of the
family. The three parts of his work treat of sandhi,
karaka and the appcuidices. The first is an examijuition of
Tri-locana Dasa's work on sandhi. Here Rama-candra con-
troverts the ox[)lanations of Susena Kavi-raja on the Pahji.
The otluT two parts are a commentary on the commentary
of Copi-natha Tarkacarya on Sri-pat i Batta’s commentary.
Karaka-ratnain is by a Durga Siinha who quotes Kavi-
raja : so he is a different person from
Accesyorios of Kiltaiitra. n i -rr • p ,
( 1 ) Kaiaka. autlioi' of tile Vrtti or of the
Tika.
Sat'karakam by Rabhasa Nandi (Catal, No. 4400 and
4401) is a collection of 14 couplets relating to Karaka with
commentary. It seems to be an ancient work, b(‘causc the
author is quoted by Jumara Nandi.
Dhatu-ghosa by Rama-kanta ; Dhatu-mala l)y Sa^thl-
, dasa Visarada, and Dhatu -laksanam
by Danokacarya arc works on roots of
the Katantra school of grammar. It is said that>
Katantra is current only in East Bengal. It has already
been said, that the Maithilas used the book. Sasthl-dasa
xliv
PREFACE.
wrote his work at Gopala-pura, at the junction of
the Ganges and the Mahananda. Manorama ( Catal. No.
4393) is a Vrtti on roots by Raina-natha Sarina, son of
Veda-garbha Tarkacarya, belonging to the Rayi family,
among the Radhiya Brahmanas. The Brahmanas of this
family had been for a long time regarded so low that
any matrimonial connection Avith them would reduce a
Kulina or a noble Brahmana to their rank. Perhaps the
author wrote at a time when the family prestige was not so
lowered.
A work on conjugation of the Katantra school goes by
Conjii^ration. thc uamc of Vilvesvara Tarkacarya.
Tt is well laiown that the Tamadi 31 sutras, Rajadi 65
sutras and Rucadi 67 sutras, though
KajadiVrtti. iucluded ill the Katantra sutras, are
not by Sarva-varma. Eggeling has published these sutras
in their proper places, the first and the third without a
commentary but the second, Rajadi, with a commentary by
Ratnesvara Cakra-vartL In Bengal, the same Rajadi has an
anonymous commentary entitled Vrtti giving examples.
The Rucadi has a commentary in
Bengal by Madhu-sudana.
Rama-candra Cakra-varti and Raghu-nandana Siro-
mani gave the meanings of grammatical terminations, and
of verbal roots. Rama-natha Cakra-varti wrote a work on
the declensions of nouns.
Katantra-kaumudi by Gangesa Sarma attempts to
justify various ungrammatical expressions in classical Sans-
krit literature according to the rules of Katantra grammar.
PREFACE.
xlv
He seems to have been very proud, for he says that,
neither Candra-gomi, nor Hurga Simlia, not even Katya-
yana, knew so much as he did. He had looked into all
Sastras and he was an authority in determining difficult
points in Katantra. His invocation is mysterious: after
saluting Siva, he invokes a Dvi-janma whose fame is known
even in the Vedas.
Kalapa-tattvarnava by Siro-mani is on the five chap-
ters of Krt. The author quotes from
Panji and says that Katyayana taking
the bodily form of Vara-ruci, Avrote the Krt prakarana
of Katantra. (Catal. No. 4384.)
Krn-manjan bj^ »Siva-rama-dasa Sarman (( -atal. No.
4402) is a collection of Karikas numbering 18 and is com-
mented upon by the author himself. The father’s name is
Gopi-ramana Vakra-varti ; The work quotes from Sri-pati,
Hema-kara, Sundara Kavi-raja, Yadu-natha and Kamala-
kara Cakra-varti.
Unadi-vrtti by Sarva-dhara (Catal No. 4394). it is
well known that the Katantra school
took the LInadi sutras from the Candra
Vyakaraiia, and adopted them to their own school.
Sara-nirnaya, by Rama-natha Cakra-varti, son of
Madhu-sudana Tarka-vagisa, explains sutras foreign to
Kalapa, quoted by commentators of the school.
The Kasmira recension seems to be much older than
Durga Simha’s commentary. The Sutra-
patha there, differs gi’eatly from that
adopted by Durga Simha. The Laghu-vftti by Chichu
Kafimira recension.
xlvi
PREFACE.
Bliatta contains many sutras not known to Durga Simlia.
Eggeling has in his notes pointed out prominently these
additional sfitras, in Ins edition of the Katantra. The
MS. of the Laghu-vrtti, however, was obtained by him from
Burnell who worked in Southern India. Before Durga
Simha became familiar to the Kasmirian Panditas, they
were busy with original commentaries of their own Paiylitas.
Bhatta Jagad-dhara wrote a commentary called Vclla-
vodhini. That commentary was commented upon by Ugra-
Idiiiti called Nyasa. One ITgra-bhfiti was the teacher of
grammar to Ananda-pala, raja of Kasmira, and his book
was popularised in that country by liberal donations from
the royal pupil, about the end of the lOth cent ury.
Durghata-vrl ti by Sarana-deva is another worlv of
this school, composed in the Saka yt^ar 1095. Sarana-deva
seems to have been a Buddhist, as he invokes Sarvajna,
which, without any qualifying word, means Buddha. But,
the author allowed Sarva-raksita to revise tlie work for the
benefit of students. Stein notices the revised edition in
his Ivasmira (, Catalogue pages 259 and 260; the same revised
edition is also noticed in page 105 of my Nepal Catalogue
Volume I. So Sarana-deva’s work has still to be dis-
covered. In the extract given by Stein, there are certain
passages marked Iti Raksita.” It seems, revisions are
sometimes juarked by the revisor’s own name. The authors,
Sarana-deva and Plaksita, note only durghata or difficult
and doubtful points in Katantra.
Another work of this school comes from Nepal. It is
known by various names, Pada-suryya-prakarana, Pada-
suryya-prakriya and Padarohana. The author is Sarahga
Upadhyaya Utsava-kirti. In the present catalogue there
are three MSS., (Nos. 4396-4398) all from Nepal. In the
PREFACE.
xlvii
preamble, the author says, that he lias consulted the
opinions of Sarva-varina, Guha and others. This raises
a nice point. Hitherto, Kat antra was also (called Kaumara
andKalapa; but, Sarahga-deva niahes 8arva-varma, tlie
author of Katantra, and Guha /.c., Kuniara, distinct authors.
Is this the grammar, tlie abstract of which has been found
in the Garuda-purana, in which Sarva-varina’s name is not
at all mentioned. The Kaumara vyakarana is distinct from
Katantra ? kSarva-varma takes the alphabet as current, but
Garuda-purana takes words and examples also as current.
Sarva-varma gives some technical terms and defines
tliem. Garuda-purana does not make anything of the kind.
Sarva-Varma tcac^hes ])y Sutras only ; Garuda-purana
teaches nama and akhyata by siltras ; sandhis, samasas and
other subjects are taught by examples only. The sutras
given in (hiru(la-purana have all been found in Katantra,
and also the examples given there, in Durga-siinha-vrtti.
So it may appear that Katant ra and tlie Kaumara grammars
are not one and the same, and their I’elation will be an
interesting study.
It will be found in the preface to the Lexicon sec-
tion of tliis volume that Kali-dasa in his Dictionary entitled
Nanartha-sabda-ratna speaks of an ancient school of Sans-
krit grammar named after the Sun, and his friend, Nicula,
the commentator, adds the names of some other schools.
May not the Pada-siiryya-prakriya be a short work on the
pada i.e., the declensions and conjugation of the Sun
school of grammar ? In that case it seems that there
were other schools of grammar now lost altogether.
Thus it will be seen that, from a small beginning
this school of grammar rose to be one
Conclusion. . i i i i
of the most extensive, and scholarly
xlviii
PREFACE.
systems. Simply from an elementary work on declen-
sion and conjugation it rivalled Panini’s system with all
its accessories. Not content with this, in the past gener-
ation, Candra-kanta Tarkalaiikara tried to complete it, with
a treatise on Vedic grammar and Vedic phojietics entitled
KMantra-chandah-prakriya. How to develop a school book
into a school of grammar has been fully exemplified in the
history of the Kalapa-vyakaraiia. Moderns do often think
this a labour lost. Let a school book be a school book,
they think, and let erudite people go to Panini.
Burneirs work entitled the ‘Aindra school of Sanskrit
grammarians’ will always remain an interesting and instruc-
tive study for those wIjo care for the history of Sanskrit
grammar. Tt was published in 1875 and even now it has
not lost its importance. It has sliown that, the Aindra
system lias been adopted in Tamil, in Pali and in other
languages of India in making their grammar, and thePrati-
sakhyas on Vedic phonetics all belong to this school.
Bunu‘ll thinks, that, the grammatical chapters in the Agni-
purana also belong to this school. This, I will presently
show, is not tenable.
Vopa-deva in his Kavi-kalpa-druma quotes a verse
giving the names of eight ancient
The Cftiidra school of i i x i 'x nni
schools 01 Sanskrit grammar. Ihey
gisminar. ^
are : —
In this enumeration he makes Candra the second school
of Sanskrit grammar. The founder of this school is Candra-
gomi, whose birth place was in the Varendra country or
North Bengal, but he lived at Candra-dvipa, in the Barisal
district, where he wrote his grammar. This account of
PREFACE.
xlix
Candra-gomi Ls to be found in Pug-8am-Zoin-Zani, a rather
late Tibetan authority. His date is to be inferred from the
fact that, he mentions the victory of the Guptas over the
Huns, as occuring in his time, which he might have seen if
he wished ; and it is well known that the Huns were defeat-
ed by the Guptas in the third quarter of the 5th century;
and therefore, Belvalkar has plac^ed him in 470 A.D., which
may be accepted as correct if the Vrtti-kara is the author
himself. This was the period when Candra-dvipa was an
important, city. It was invaded by Oandra-varma, who
was defeated and killed by 8amudra-Gupta, and it was also
at Candra-dvipa about this time, that the Kaula system of
Saivism took its rise^ Candra-gomi >vas a Buddhist and
he wrote his work in the interesl of his co-religionists. In
fact from tliis period Buddhist Rramanas began to write in
correct Sanskrit. All Buddhist works before this time were
written, in what is (tailed Buddhist Hanskrit i.e.. ungram-
matical Sanskrit. Even tlie very best of tlieni confound(‘d
the participles, in the use ‘ ktva ’ and 'yap. ’
As Candra wrote in the interest of the Buddhists, he
did not treat of the Vaidik grammar and phonetics. For
centuries Candra's grammar remained in India, only as
a name, till Buhler from Kasmira and Professor Bendall
from Nepal recovered fragments of it, and 1 acquired a com-
plete copy of it, from that interesting and ancient country,
Nepal. Dr. Bruno Liebich, then brought the whole system
from Tibet in translation. He has published the work in
original Sanskrit with some accessories.
In a way Candra is an improvement on Panini and
the three sages. He has reduced Panini’s fourteen Siva-
siltras into thirteen ; he has modified the system of Pratya-
haras of Panini; he has changed the wording of Panini’s
1
PREFACE.
rules and their arrangement ; he has thirty-five sutras more
than Paiiini’s. Jayaditya and Vamana have incorporated
these into the Kasika, but Kaiyyata has pronounced them
as Apanineya. The number of sutras in Candra is 11060 as
against 39S3 of Paniiii.
Candra has not put the Saihjhas or grammatical tech-
nical terms and their definitions in one place but has dis-
tributed them ov(^r the whole work and they are so few
that this grammar is called Asaiiijha. The arrangement of
subjects in his work is suited for scholars and not for
beginners.
Ghandra-gomi is invariably confounded witlj Candra-
carya mentioned in the second ka-iyla of Vakya-padiya.
Candracarya is mentioned in verse No. 480 in the word
I Tlie Commentator Punya-raja explains: —
Vasu-rata was the guru of Bharttr-hari, the author of
the Vakya-padiya. This we learn from the summary given,
at the end of the second kai.ida, by Punya-raja. Jn this
summary, he says, Vhisu-rata brought the Bhasya from
Parvata, while the text says Candracarya and others did it ;
and among the others the commentator includes Vasu-rata.
So Candracarya and Vasu-rata must belong to the same
generation. Therefore Belvalkar is not justified in saying
‘^That Candracarya was two generations before Bharttr-
hari.” He was an elder contemporary ; so Candracarya
must come about 600 A.D., while Candra-gomi, if he has
written the Vrtti himself, would be placed in about 470 A.D.,
if not earlier. How much earlier, we cannot say. The argu-
ments, that Malli-natha quotes Candra-gomi about the use
of the optional forms, Visrama and ‘ Visrama ’ fails ; because
we get no sutra sanctioning the optional form in Candra-
PREFACE.
li
gonii. The optional forms might have tlie sanction of
Candracarya.
Agni-piiraiia, cliapters 248 to 258 both inclusive, treat
of grammar. In this grammar, the alphabet is not taken
as it is current. Tt takes it in the Siva-sutra form, so this
docs not belong to the Aindra school. It treats the greater
})art of tlie grammar by examples. But there are more
(‘.X am pies in this than are to be found in tlie Katantra
grammar. The few rules that are given do not Ixdong to
Katantra. In the Taddhita chapter, it derives the word
‘ rSndraka ’ as, one wlio cither knows, or studies the Candra
grammar. F, therefore, take these eleven chapters of the
Agni-puraiia to belong to the Candra grammar.
Til this catalogue, Candra Vyakarana is desci'ibed in
three numbers, 4411 to 4413 ; the first two are accompanied
with Ananda-daXta’s commentary,* and t he third with that
of Bhiksu Ratna-mati. But- they are so fragmentary that
no inference can be drawn from them ; so are t he descrip-
tions of this Vyakarana in Bendall’s Cam. Cat., and in my
Nepal Cat. Liebich gives the Siitra-patha in six chapters
divided into four padas each, the Unadi-patXia in three
chapters, and the 14hatu-patha. The number of Dhatus
mentioned arc 1182 and the number of Candra-sutras are
3060 and the number of Unadi-sfitras arc 328. The I^ihganu-
sasana and the Gana-patha of this school arc referred to
by authoritative writers of other schools. The Upa-sarga
vrtti is found in Tibetan version only, the Varna-sutra is to
be found in a M8. in the Deccan College Collection No. 289
of 1875-76. No work on Pari-bhasa has yet come down to
us. These are the accessories of the Candra school of
* Eggeling in page 196, line 19, speaks of two other commentators (1) Vimala*
mati (2) Ratnn-Sri-pada.
PREFACE.
lii
grammar. So, it was a school fully equipped with all the
accessories, like the Panini school.
The Candra-Vyakarana, at one time, had an extensive
circulation in Buddhist India, and with the decadence and
fall of Buddhism, it has very nearly disappeared from the
soil of India, In Ceylon it was much in use at one time,
but, the Balavabodha, a school book of this school, has
com])let('ly ousted other works from Ceylon.
Jinendra is one of the eight- schools of grammar
mentioned in Kavi-kah)a-druma as
Jiiieiidra school
ancient. Tradition says, this system
of grammar was revealed by Maha-vira to Indra, therefore,
it is known by their joint names. The work was current
among tlie Jainas. In the colophons, how('vcr, the work
is invariably attributed to Deva-nandi and Deva-nandi is
quoted as the author by authoritative works on grammar
and lexicon. Deva-nandi has often the title of Piljya-
pada. In the Nancb-samgha-pattavah Deva-nandi and
Pujya-pada are one and the same person. It says, Pujya-
pada was another name of Deva-nandi.
Prof. Pathak, in his paper in the Indian Antiquary^
October. 1914, assigns this grammar to the later part of
the oth century A.D. His principle reason is that Kasika
seejus to }>etray a knowledge of Jinendra-vyakarana ; that
it alludes to Isvar-krsna, the author of the Samkhya-karikas.
It alludes to twelve years' cycle of Jupiter, according to the
Heliacal rising system, a system which was in vogue at the
time of the early Gupta kings. It has two versions, the
shorter one, with about ‘bOOO sutras, is commented upon
by Abhaya-nandl in what is called the Maha-vrtti; while
the larger version gives about 700 sutras more and is
commented upon by Soma-deva in his Sabdarnava-can-
drika or Laghu-vrtti composed in 1205. The commentator
PREFACE.
liii
was a contemporary of Silhara king, Khoja Tl, and an
inhabitant of Ajron in Kolliaporo State. But Ih’of. Pathaka
says the longer version is the more ancient one. Abluiya-
nandj's date is proba])ly ToO A.D. So the shorter version
had an eaily and elaboratt^ commentary than the longer
one. Thv arrangerneni of sfitras in the two versions is
widely dlttVTcmt and they differ evcui in nomenclature.
'rhere is a recast of the Jinendra^ vyakarai.ia entitled
Pahea-x ast n. It follows th(‘- shorter version.
The Jinendra-\ yakarana has a pooj‘ history. It never
had many followers, and at the present days, it has a few.
These cojik^ from Indore and Beware.
Jinendra-vyakarana seems to be very fond of mono-syl-
Moiio- liabu- iioin<ii(ia- kibic noiueiiclal ur(‘ ; for Prathama lie
1 Lll e
has \'a ;
or 1) viiiya - 1 ]> ; Ti tiya-
-Ki).
i 'aturthi
Ap
Viddhi
Aip
l^ineami
r.hii
China
Ep
Sastlii
'j'ii
Pragrhya
l>i
Saptami
ip
Sajnkhya
Syi
Saniasa .
Sa
Santa, Nanfa )
Dvand \ a
Dvandva Dafyanta (
ft
Avyayibhava .
Ha
Sainkhya )
Tatpurusa
Sa
Sarvanama
iSri“
\’aliu-vrihi
Va
Pratyaya
Tya
Kannadbaraya
Ya
Anunasika
i) vigil
Ra
Niraniinasika . .
Na
Upasarga
Gi
Pratipadika . .
Mrt
(fati
Ti
Akarmaka i
Hhi
Hrasv^a
Pra'
Dhatn (
1 )irgha
Di
Guru
Rii
Phil a
Pa
Nipata
Ni
1 Perh;if)8 “ hra ” which in Brahmi form ma.\ b(' mistaken for “ pra.”
- In the Bliortor recension this does not occur; the Sartja is Sarva-nama.
liv
PREFACE.
Tlio list may be drawn to any : Jinendra seems
to be the predecessor of Vopa-deva in this matter.
Nal<a1ayana was a predecessor of Panini and he held
, vi(‘ws diametrically opposite to that of
Snk?dayH)u-| School. ... "
Panini in the mattei' of Unadi. He is
often nderred to in the Maha-bhasya, whieli gives soim^
legends al)oijt his life, too.
A Sakatayana-N'yakarana was printed in Madias, in
which Sakatayana is described as Srnta-kevali-desiacarya.
Sruta-kevalis are the direct disciples of Tirt lianikaras.
They became Kevalis or absolutely (‘maneipated by Inairing
the doctrines directly, fj*oni a Tirthainkara. Srikatayana
was a Srutadscvali-desiva or little less than a Sruta-kevali.
So Sakatayana must liavc^ been a genei'ation or two youn-
ger than the founder of the religion. In my Mga.dhan
Lit(n‘atur(‘ (Pages 29 and 30). J have; tried to ])rove that
Sakatriyana was a Sruta-kevali-desiya not to the last Tir-
thanikara, \hiTdhamana, but to his pnaltajessoi*, Parsva-
natha. 1 have also shown there, that the quotations in
Pa nini from Sakatayana are to be found in the Sakatayana's
work published from Madras. E\en Purnell, who tries
to show it to be a foi'gery, and a clumsy forgery too, is
constrained to admit “These coincidences prove that oni
existing treatises is fiased on the original work.”
1 think that, as in the Aindra school, the existing
treatise is much later than the founder o! the school. The
Sakata \ ana grammar may be much later than Sakatay-
ana the founder of tin? school, though in this (tase t he later
wnrk gO(‘S in his name. The commentary Amogha-vrtti
was written in the reign of Amoglia-varsa the famous
Kastra-kuta King (A.J3. 870-877).
PREFACE.
Iv
[f Sakcatayana had been so late as the 9th (jentury,
Vopadeva would not have given him a place among the
ancients. Vopadeva does not regard Hcma-candra or
Krainadisvara as a indent.
“The Sakatayana Sabdamisa.^na consists of 4 Adliya-
yas of 4 IVidas each, th(‘ lotal mimb(a‘of sutras being 3200'’
(Sec‘ Ihdval. ]). 70).
Tlie anangeiinait of topics is pra(;tical as opposcal to
scitailihe. Like dinendra, lu‘ does not treat of lln^ Vaidika
gra,ininar and its jihonetics. He has only 13 Siva-sfitras
and not 14 lik(‘ Pauini.
As this is a distinct school it. has (1) Paribhasa-sfitras,
(2) (tana-patha in 10 Pa das (3) Dhatii
A(ce-^..u. s ot s.ikat,.- ( 4 ) Unadi-sutras in 4 padas, (5)
Vuiifi y ( !raliiu)ai . ^ ‘ ^ _ _ _
Lingannsasana in 70 Aryils. Belvalkar
says, of these none is older than the corresponding Paniniya
treatise. This is rather bold. Belvalkar does not admit
that the Unadi-sutras of the Panini school are not by
Panini but by Sakatayana ; so the Unadi-sutras of the
Madras Sakatayana liave nothing to do with Panini.
Beside Aniongha-vrtti there is another commentary
named (dntamani by Yasovarma, which lias many sub-
commentaries such as Mani-prakasika by Ajita-senacarya.
Ointamani-pratipada by Aluhga-rasa and a Tipp‘'^^h ky
Samanta-bhadra. It has many recasts too. One is Pra-
kriya-saingraha by Ahhaya-candracarya wlio nourished
about 1300 A.D.
Another recast of Sakatayana is the Rupa-siddhi by
Daya-pala in the beginning of the 11th century.
Ivi
PREFACE.
Sakatriyana was currout among the 6vetanibara
Jaijias. It met Avith a powerful rival in Hema-candras’
Sahdamisusana in Northern India and so it iiid itself in
obscure libraries of Southern India.
I have said before that Sakata vaiia belonged to Parsvea-
luitlui sec^t and Jinendra, to the Varddhmana sect. The
followers ol Parsva \vor(^ a avIuIa^ garrmuit and those' of
Varddhamaiia vore none, hrom sixtli to the seco!id V>.(\
tlu' t wo sects ])iill('d tog('th('r someliow. But in the latter
century tlu'rc' was a. splits aud tlu'v resunu'd there old
garnumts. TIk' fact that tlu' gi'ammap of Sakatayana was
regapd('d as authoritative by the Sv(‘tambai‘a and sI)o\ns
that he beloiige'd to the older times and ohh'r sect.
\ opa-deva, at
ir'iiia-tiandm hcIioo) of
( liiunmar.
the (Uid of the l.*Kh century, emails eigld
of the schools of gi'ammar as aiuuenl.
but- Hema-candra school is not iu-
(‘tuded ajnong tliest' eight, though
Hema-candi‘a school is furnished with all thi' acet'ssories of
a grajuuuir scfiool. It, V'opa-dewa knew that Sjikatayana is
not mort' ancient- tlia-n Amohgna-vrtti, lie would not lia\ e
included it among the ancient s.
Hema-eaindra was born in 1088 A.i). at a place called
phunduka Jiear Ahmedabad. His parents were Banias.
His mother saw in a dream that her son would be a great
man. When Hema-candra was of five years, in age, Deva-
caTidra a Jaina monk asked his mother to makeover tlie
child to him, so that he might initiate the boy into a
religious life. He studied for twelve years, after which he
was made Hema-candra-acarya or Hema-candra Suri.
Shortly after he was made the head of a Gaccha at Ana-
hila-pattan, then ruled by Siddha-raja Jaya-Birnha, a power-
PREFACE.
Ivii
fill King and a patron of learning. Henia-canclra often
had discussions in the matter of religion with tlie King
who was a devoted Hivait. But after the death of
Jaya-simha, his successor Kumara-pala became a disciple of
Hema-candra. The dainas were favoured by the Kijig and
other religions were persecuted. Tliere is a couplet
amongst the Vaisnavas about this time;
Jiai i
JT^T II
This shows that Vaisnavism was stamped out from
(bijcuut. Puraiias are also very bitt-er against; Kumara-
pala’s a-dministration, which confiseabHl the property of
the Biulimanas. The eonvea-sion of the king into Jainism
was rej)resent('d in a drama, entitk'd Malia-raja-para-jaya.
by a minister to Kumara pahi\s successor.
The iSal)da)uisasaiai was written by llema-candra at
the request of Siddha-raja Jaya-simJia. T1 h‘ work is
called Siddha- Hcnia-candrribliidhana - Svopajna - saJ)danu-
sjisana. It joins the name of Siddha-raja Jaya-siniha
with that of Hema-eandra and declares its(Jf to be
►Svopajha or original and not borrowed. Tt is original
in this sense that the grammar of the Prakrta languages
was, perhaps included in a Sanskrit grammar. In other
matters, too, in Pratyahara, in technical terms, etc. he
shows originality. Hema-candra’s work was something
lilve an imperial encycloptedia of grammar in which all
preceding works on grammar available^ were consulted
and collated. Naturally enough as a fJaina and as a Sveta-
mvara, he has drawn much on Sakatayna’s Sabdanu-
sasana and the Amogha-vitti. This he has done not so
much in his sutra-patha, but in the commentary made by
himself called the Vrhat-vrtti, which is an encyclopredic
Iviii
PREFACE.
work. In fad the accessories of this school of granunar
are, as a rule, parts of the Vrhat-vrtti.
Henia-candra’s grammar is divided into eight Adhya-
yas of foiu' ])adas each. The first six ])adas ar(‘ ealled
l^rathama-sat-pada, ; the next four padas are (‘ailed madya-
ma-])ada a>nd tlu^ tv \'0 together Dasa-])adi (S('e calal. No.
450:t),
H(‘ma-eandra abridged his Viliat-vitti into yhat i>
called th(‘ Lagini-vrtti. Our No. 4504, 4505, and 45()h deal
with the Sanski’it portion of the work. Hie next six
numlxu’s 4507 -12 deal with the Prakrta ])ortion, that is, ilw
7th and the St h ehapt(ws. In two of th('s(‘, 450<S and 451 1 , is
gix'on a short history of th(‘ Chrilukyas of Gujerat from
Mula-raja to 8iddha-raja Jaya-siiuha. It is said that
Jaya-sijnha was yery much troubled, with numerous
grammatical works, without the study of which a com])lete
knowledge of it, (a)uld not be obtained and so lu* ordered
Hema-candra to write the work. Pelvalkar is perhaps not
ycry happy in saying that, the Laghu-yjtti relates to the
hrst seven (‘hapters only of Hema-candra \s grammar.
Svopajna-clhahu-parayanain, No. 4513, gives all roots
used in Hema-( andra’s grammar, with
A( (•(\sson(>H to Uoina- ' i • ,
, . their mcaimngs. llie work is by the
author himself. It has a commen-
taix by Harsa-kirti-siirl entitled Svopajna-dhatu- patha-
A'iyaranam. This commentator was much honoured by
Mala-de^a of Jodhpor(‘ in the middle of the 16th century.
His guru obtaiiHHl from Akbar the village of Ksouma.
The preyious gurus of his gaeeha, ealled the Naga-puriya
were honoured by Hambira, Raja of Mewar, Alla-ud-din
Khili/i, Peroj Shah and others.
PREFACE.
lix
Tho accessory, Liiigauii-sasaiia, is represent od in tins
catalogne by 45J5 entitled Svopajnadingaimsasana-viva-
ranain by Heina-cajidra and a sub-cominentary, Durga-
])ada“]3rabodlia, by Srnvallabba. The siib-comnientary. was
(*()inpos(‘d at Jodhpore in lb05. Heina-candra's Lingann-
sasana is a metric^al tTeatis(‘ based on Sakalayana’s work
and divided into eight sections.
( hina-j‘atiia, a. Jaina monk, wrot(% at tlie re(jU(^sti ot
his giiriL J)('va-sunda.ra, a Avork entitled Kriya-rat Jia-sam-
Mccaya, No. 4517, in whidi he givt‘S the conjugation of
important roots in Hema-caiidra’s grammar.
kor other ac('(‘ssories sucli as the Unadi-sfitras. Ga-na-
])atha, Pari-bliasa etc., se(‘ Belvalkar, ]Kige 77. He tlhnks,
“ For t[i(‘ most ])art these* treatises are embodied in Heaua-
eandra’s \h’had"Vitti, from which tliey seami to liavc* been
subse(|U(‘iitly extracted and published in s(*])arate forms.
The Vrhad-vrtti has a commentary entitled Vrhad-
virtti-dhundhika. Some* ascribe it to
Siib-( '( mil Hf-nf 111 K's on tt -i i • ii- i j j i i
Hema-caiidra hnnsedt but tla*, e^olo-
Henia-cjiiu]r'a s n;rannnnr.
plions of MSS. ascribe* it to Dhana-
eandra. Nanda-sundara and flina-sagara. The Fthundhika
on the Prakrta chapte'rs, is the* wen k of Uelaya-saublitigya of
the Lag]in-tapa-gae‘cha writ te‘n in 1553 A.]). I Jdaya eandra
and his pupil De*ve*nelra-suri have* also written a Nyasa on the
\"rha.d-\o‘tti. The* grirn's work was e 5 ompre*he*nsive* while
liis pupil’s work is rath(*r an abrielgme'nt . Ihit the
conpAivhensi ve work has not- yet- been lound.
Sahela-maharnava-nyasa is an anonymous ce)mmen-
tary on the Vrliad-vitti (see Belval., page 78).
lx
PREFACE,
The 17th century saw many digests on Hema-candra’s
„ , work. Tn 1652 A.D., Vinava-vijava-
gani wrote a manual called Haima-
laglm-prakriya. He \\Totc a commentary on his own
work, tw(miy-five years later. In 1()()9, another manual
was written ('iititled Haima-Kanmndi by Megha-vijaya.
this work is said to be the model of Siddluduta-Kanmudi.
-But, that is ijU])ossible, because Bhattoji-diksita,, the
author of Siddhanta-Kaumndi, flourished in the latter half
of the Ibtli cent ury. He was the jiupil of Sainkara-Bhat ta,
who died in the (‘arly years of the 17th century and the
commentator of Vkiranasi-darpana in 1042 dec'lares that he
received his knowledge of Saiiskirt grammar from JOiattoji
and his son Kamasrajua.
The roots of this school of grammar were alplialx'ti-
cally arranged by Punya-sundara-gani.
< '()irini('iitarips foi tlir , ' i- ft i
Hcuessonefi Liuganusasaiia of Henia-eandra
was commented u])on by Sri-\'allal>ha
Vacanacrirya, in iOOf) A. I). a.t Jodhpore. The Pari-bhasas
to the number of 140, were put together by Hema-hainsa-
vijaya-gani who also wrote a commentary on them in 1457
at Alimedabad. Works on conjugation and declension
according to Hema-candra’s grammar were written so far
back as the 13th and 14th centuries.
The small community of Jainas had three schools of
grammar, Jinendra, Sakatayana and Hema-candra, and so
their circulation was limited. But still there was another
grammar Avritten by a contemporary and co-religionist of
Henia-candra. This Avas Malaya-giri, who wrote a SabdaJiu-
sasana a\ ith a commentary.
Tho Sumksiptn-snra
School.
The Samksipt-a-sara had four
stages of development before it became
a complete school : —
PREFACE.
Ixi
I. The sulras of Kramadisvara.
II. The commentary called Rasavati.
III. Its revision by Jiimara Nandi.
IV. Goyi-candra’s Vivarana commentary.
Kramadisvara has a high sounding title, Vadindra-
cakra-cildamani or the ‘crest jewel of tlie circle of contro-
versialists.’ The title of Vadindra or Vadirat was very
common from tenth to the thirteenth century. Tlie
Buddhist Mahju-sri had a title Vadirat. Belvalknr says
that Jaya Siinha TI, the ('haJiikya empej'or, had a title
Vadirat. In the 13th century Ananda-giri, the commenta-
tor of iSamkara-l)hasya v.as a Vadindra. Kramadisvara
got this title' from tlie Saivas. He wrote the sutras. But
Krt"Sesa unadi-])ada does not seem to be his work. It
s(-ems to be tlie work of either the author of the Vrtti
e-r of Jumara Nandi, the re'visor of it. The shtras of the
appeaidix of the taddhita section are by ()loyi-candrta.
Kramadisvara in the' Sanskrit ])ortion of his work follows
tlu^ arrangement of grammatical subjects by Bhartr-hari,
who divides his work Vakya-padiya in three kandas. The
Brahma-kaiuki which treats of articulate sound, and philoso-
phy connected with it. The Vakya-kaiula, the essence of
which is verbs, and the Pada-kanda which treats of nouns.
Tdiese three kaiK.las have been s|)lit up, by Kramadisvara
into seven pa das, (1) Brahma-kanda — yaiidhi-pada, (2)
Vakya-keinda — verbs, verbal nouns and other nouns, (3)
Pada-kaiid a == syntax, declensions and compound words.
He does not follow the arrangement of the Astadhyayi,
for in that arrangement Sandhi comes last of all.
In seven only of his sfilras, he mentions his prede-
cessors, Kat antra and Candra. Once he quotes Bhaga-
vrtti, Karaka-pada, 101, and once again Anu-pada-kara =
Sandhi-pada, 224.
J
Ixii
PREFACE.
Kramadisvara evidently wrote his work in t lie interest
of the Saivas of (Vntral India. His juune shows that
he was a Saiva and Ins invocation shows that he was a
Raiva. Saivas at this period used the Prakrtas and vernacu-
lars in their projiagaaida work. The Bengal Saivas of
(hndra-dvlpa wrote in the v(‘rnaenlar, traces of which are
to lie found in later Buddhist works, and th(‘ Kasmira
Saiva works iwv almost invarialily accompanied with some
vcrs(\s in vernacular at> the end of each chapter. Ivrama-
disvai’a, thendofc', found it neca'ssary to giv(‘ some grammar
of th(' Prakitas and the vcamaculars. But, as will Ix' stated
later on, wicked p(‘ople dropped it, and so, the eighth pada
of his work, has neither the vitti of dumara Nandi nor
tlu‘ comuKMitary hy (lovi-candra. The only c‘ommentary
on this section is by Narayana Nyaya-pahcanana. In
including a section for the Prakritas and excluding the
\'afdika grammar h(‘ s(‘ems to b(‘ the inspiri'r ol‘ Hema-
eandra, who boasts that, tlu' whole of his work is oiiginal
or "‘Svojiajna.’'
At th(‘ present moment there is no means of dis-
tinguishing bet\\(‘(*n tli(‘ Rasa-vati
I’iio \ rt 1 1 ami il-H ro\ jsKHi • • i i m i-
\ rtti and its revision by Jumara Nandi.
But, the revis(‘d vrtli shows wide acipiaintanci' with
Sanskrit literat in(‘, its lexii'ons and its grammar, Kali-dasa,
Magha, Bliai'a^ i are of c'oin'sc tluuHx Murari is theix'. The
works entitled Janaki-haranaiii, Sa])ta-kumarika and Panca-
tant ra ar(‘ there'. This is in Kavya literature. Of lexicons,
he quotes fnim Amara-kosa. Tri-kanda and ITpala-mala.
In grammai' it ([uotc's from dayadity.i, Vamana, Nyasa, Anu-
nyasa, Itaksita, Bhaga-vrtti, Dhatu-parayana. and Bhatta-
vartika, h(‘ also quotes kajjata a corruption of Kaiyyata.
But, Jumara Nandi does not explain the sfitras, he only
gives examjiles and critieise's the grammatical and non-
PREFACE.
Ixiii
grannnatical expressions in Sanskrit literature'. He seems
1o be very much concerned with the opinions of two
previous Avriters Babhata and Pasupati, perhaps, his prede-
(‘('ssors in the Sandcsipta-sara scliool, Theii’ names are not
iound anyvvliere (‘Ise.
As regards the age of the selmol, CoU'brooke' wants to
place' it afte'r Vo])a-de‘va in tlu' J3th
Af’o ()1 JiimiUH's revised , i> i • .1
centurv. But, this theorv is not
conimenl nr\ . •
li'iiable. Vopa-ele'va in his c]ia])teT on
nominal roots, in the Siitra. ‘ A gives the
exanpile
as the' (dirre'e-t form, aiiel then says “ ” i
that is, he de)es not agree with the Ibrm , but in
the^ villi commentary e>{‘ Samksipta-sara, Tihanta-pada
sutra No 299, the' eominentary sa,ys ''
as the corre'ct form. Tliis shows that \h^pa-deva is
])Osterior to the* vrtti, and there'fem' niiieh late.'r than the
stitra.
One may think that Kramaeltsvara imilate'el Hema-
eandra in rejecting the Vaidika grammar anel plione'ties e^f
Panini anel inelueling the' Prakjtas at tlie^ end o^ the
grammar. That se'cms to be' ve'ry eloubtful. Ve)])a-eleva
wrote his Mugdha-boeliui be'twec'n 126(1 and 1300 A.I).
Hema-eanelra was born in 1088 x\. I). and eiie'din 1172 A.D.
Oan all the' three early stage's of tJie elcvele)pm('nt eb the
Samksi j)ta-sara be ea)m])re'sseel within a, exalt ury ?
Ramavatara Sarma s])e'aks of Ut ])ala-malika as a
lexieem. He gives the' name of ITpala-mala queMe'd by
Jnmara Naneli, seve'ral times but has not hing t o say about it.
Jnmara Naneli is called a Maharajaelhiraja. In his court,
Ixiv
PREFACE.
engaged in liis service, were men like Umii-pati Datta whom
he loved to honour. This is the only piece of historical
information thal we get from his commentator, (Joyi-candra.
(loyi-candra says that, in course of time, the siltras and the
commentary became corrupt for tlie fault of the scribes,
and so Ijc — G oyi-candra, —undertakes to write a running
commentary on all the sutras and their comiiieuts by
Jumara Nandi.
The upper limit of GoyJ-candra\s age is obtained from
t he fac;t that he quotes from Purusot-
'I'he of ( iovT-faudra , r^ - i vr i
tama, whom barvananda Vanao-
[)adhyaya quotes in his commentary on Amara-kosa in 1 15b
A.D. (s(‘e Itamavatara-Sarma's Introduction to Kalpa-dru-
kosa, p. XX 11.)
Goyj-candra is called Autthasanika,'’ that is. one
to whom, when he approaches the court, the king stands up,
and otfcTs a seat. Belvalkar s(‘ems to bo puzzled at this
name, and at this (uistom. The custom still ]mwails in
Uajputana, buti it has lost its Sanskrit name at present. A
nobl(‘ man, who is honoured by the King in this waiy, is
called a Tazimi omrah. Goyi-candra’s commentary is
known as Tilei or Vivaraiia-tika. Goyi-candra seems to liave
b(^en an exjiert in Logic, especially to that section of it,
which treats of the relation of words in a sentence. His
commentary on the chapter on Karakas is much apprecia-
ted in Bengal.
With Goyi-caindra ended the original writers on this
school of grammar. The later writers are almost all
commentators on Goyi-candra’s Vivarana-tika.
Vyakara-sara-laliari by Kavi-candra is a commentary
on the Sanskrit pa das only. A MS. of this copied in
PREFACE.
Ixv
{^aka 1636, is our number 4493. Kavi-candra writes this
commentary in the interests of young people. His main
object is the collection of the original sutras of this school.
But he begins with the Sanskrit alphabet as is current
at present.
Sainksipta-sariya-pritki ta-pada-tika (4494). In L. No.
1594, Rajendra-lala says, that (jloyi-candra did not include
the Ih^akrta-pada in his elaborate commentary on the Sam-
ksipta-sara, and this is the only (‘ommentary and t lu^ only
MS. of it on the Prakrta portion of Kramadisvara which has
come to his notk'c after many years of search. This was
said in LSTS. After its [)nblication, thi‘ text of Prakrta-
pada ol this school, published in the Bibliotlieca Indica, was
witlidrawn from ch'culation, as that text did not agree wit h
this coiumentary.
As regards the authorship, llajendra-lala says, B\
\h(lya-vinoda, son of Narayana, grandson of Vaijcsvara, and
grt^at-grandson of ffata-dhara.'’ But this docs not agrec^
with the second verse of the work which says that
Narayai.ia Vidya-vinoda was the son of Vanes vara who
was the son of Jata-dhara., who again was tlie brother of
Chatri. (diatri belonged to the Purva-grami clan of the
Ra()lh-sreni Brahmaiias of the Vatsya-gotra. But in tln^
colophon of 1594 (L.) Vidya-vinoda is said to be the author
of the commentary on the eighth pada. But from the
commentary on other padas we know that Nyaya-paiicanana
was the son of Vidya-vinoda and that is perha])s the
correct description of the commentator.
Belvalkar says that the eighth chapter dealing with
Prakrtas is a later addition. This is not true; for an
authoritative commentator like Nyaya-paheanana says that
Kramadisvara wrote the Prakrta-pada but some wicked
Ixvi
PREFACE.
people (lropp(‘(l it and lie restored it- with his coTnnientary
(L. 1594)
Hrf li
Tlu^ of < ll<! J)Mlll*ll>H
authors of tho SaniLsipla
sftru school.
the Alngdha-hodha.
The opinion was that the wliole school is latt'r than
\5)pa-fle\ a, but it has betni shown that
\5>pa-deva does not consider as a
corr(‘ct form. But dinnara Nandi says
it is corixsd, he is tlierefoix' earlier than
The coininentator of Jinnara Nandi, it
1 h' liad coni(‘ after Mugdha-liodha, AvoiiJd have rx^stailcd his
disapprobation. But he do(^s nothing of tht'kiiub li(‘ sin)])]y
gives the st(‘])s by wJiich tlu* word is fornuab So,
t-lK‘ coininentator, (lovioaindra, is earlier than Wipa-dcwa.
This is tli(‘ low eiTiinit of th(‘ age of (loyiaaindra. Tlu' nppi^r
limit is fixed by tlit' fact that Goyi-(*andra (jiiotes from the
Bhasa-vrtti and th(‘ Tri-kanda-sesa of Punisottaiiia'deva
who is (piotcal by Sarxjinanda, the commentator of the
Amara-kosa in tl)(‘- year 1159 A.D. Purusottarna, therefore,
may be plai'cd, at the latcist, in the first half of the 12th
contnry : and Goyi-(*andra in the settond half of the
same century. Goyi-candra says that, in course of time
many misreadings have crept in Jumara Nandi’s vrtti and
Kramadisvara’s stitras; th(‘y ar(‘ all glaring misreadings
and they number about fifty. So much misn^ading can-
not bi‘ the work of a day; 1 would, therefore, venture
to [)la(‘e Jumara Nandi at hast one hundred years before
Goyi-caiidra, that is, in the 2nd half of tlie 11th century.
If so, Kraimidisvara would go earlier than Jumara Nandi,
but later than Bbart r-liari, who died in 650 A. I)., and
wliose arrangements he has followed in framing his sutras.
Kramadisvara (] notes only two of tlie ancient schools
of sutra-karas namely, Kritaiitra, 1st century A. D., and
PREFACE.
Ixvii
Oamlra, 511i cenliiry A.D. ( Joyi-caiidra again shows that
wliere Panini aiul those sutra-karas disagree in the for-
mation of any word. Krainadisvara gives the option 1o
both the forms. He also says that, when the Ihiasya of
Panini differs from its vrtti, in some iiistanees, Krama-
disvara gives the option to both forms or in others
snp])orts tji(^ BJiasya. and r(‘j(‘ets lh<‘ vrt ti. That shows that
Kramadisvara, according to (h)yi-('andra, was tlioroiighly
acquainted with th(‘ vrtti of dayaditya and Vamana, who
came a tilth' later tlian Bliait i-liari in t 7t]j ('eiitury
A. I). 8o, Ivra inadis\’ara.’s pla(^e would be in la1(T (‘(mlnries
than the seventh. But (h)yi~(%and!*a, also says tliat Krania-
(hsva.ra was acapiainted with th(‘ stitras of Vainana, tliat is,
tlie rlietori(‘ian Vamana, who in liis work on rlndorie hves
O
a, c'liapU'r on tlu' criticism of good and granimati(;al style,
and his age is supposed to be 850 A.D. That settles the
upper limit of Krainadisvara. The 0th and the 10th
centuries were the ]Pilmy days of the »Saiva cult of the
Pasu])atas and others in ( Vntral India. Th(‘refore the three
great writers of Sainksipta-sara would (‘ome betweim 850
and 1200 A.T).
Against tJiis, there is the fact that dumara Nandi
quotes from Kajjata. wdio is no one else tlial Kaiyyata
and Maitreya llaksita. Ihibu Srlsa-(*andra Cakra varti says
that Kaiyyata tiourislu'd in 1050 and Maitreya in ! 100 A.D
Let. us examine the grounds of his ass(U*tion.
latest authority (piotiMl by Maitreya is Dharma-
kirti's Rupavatara which the Babu puts down in the layly
j)art of tile eleventh cc'iitury. But he does not state'
his grounds. Tlie editor of the Ru])avataj*a says it was
written in th(^ 12th century. It is known, howTver, from
Rajcndra-Cola’s inseuaptions that Rupavatara was used as
Ixviii
PREFACE.
a pari of the eiirriciilnin of the educational institutions of
tliat monarch in the first (juarter of the eleventh century,
see S. Ind. Epigraphy lor 1917-1918 pages tW and 145,
App. P». It was only old and well-known works that were
incliuknl in the ciirriculuin. So Rupavatara was then
regardcnl as old. It could not be a new work belonging to
tlie early eknanith cciiiiiry; it must go earlier.
The (late of Maitreya llaksita, has been put down l)y
Srisa Ihibu at 1 100 A. 1)., the latest works Maitn^ya quotes
are Itnpavabira and l>hrisya.-1 dva, which Srisa IJabu takes
as Bli;isya-])rad ipa, on what ground 1 do not know. Maitreya
may go a (HMitury ('arlicu' if Ih' (piotes Rupavatara. But thi^
Babn says that Bhasya-pi'adipa l)y Kaiyyala was written
about 1050 A.J)., h(‘(*ause Bhiina-sena, a late commentator
of Kavya-pi'akasa, 1729 A.I)., says that Mammata, the
author of Kavya-prakasa, Ubata, the commentator of
Yajur-veda and Kaiyyata, all nourished at Kasmlra and
Avere related as brothers. This is absurd, Ubata li\^ed at
Avant), his fat her Vajrata lived at Auanda-pura in Uujarat.
So Mammata (-aimot be the l)rother of Ubata and cannot
nourish in Kasmira with him. If the evidence of tlie
commentator ])rov(‘s untrue in one ]:)la(5e, it cannot be
taken as true in another, so the theory that Mammata and
Kaiyyata are brothers should be given up, and Kaiyyata
should be placed in the 10th century. In that case Jumara.
may quote both from Kaiyyata and Maitreya.
Goyi-candra does not show any acquaintance with
Hema-(‘andra 1 1088-1172). But Hema-
candra wrote at Anahila-patana and
(toyi'Candra, most probably in Orissa.
They Avere most probably contemporaries and did not knoAv
each other. The activities of the followers of this
The commentaries on
Govl-candra,
PREFACE.
Ixix
school after Goyi-candra is confined to western Bengal,
where this school is still flourishing, and the later commen-
tators of Goyi-candra all belong to that part of Bengal.
They commented either on the whole of Goyi-candra’s
work, or on different sections of it, and they commented on
Goyi-(‘.andra alone, and not on any of his predecessors.
The most important (mnmentary written in western
Bengal is that by Narayana Nyaya-pancanaiia, who wrote a
commentary on all t h(^ seven sections of Sanskrit, as well as,
the eighth section on Prakrit not toiudied by Goyi-candra,
Jiimara Nandi and others, though he positively says that
Ivramadisvara wrote it. Nyaya-pafuianana was a Brahmana
of the Radhiya ({(‘nomination, that is, one of those descen-
dants of the five Brahmanas brought to Bengal ))y Raja Adi-
siira w'ho obtained in lat(T centuries, grants of villages from
which tlu^y derived their surname, in western Bengal The
village obtained by the ancestors of Narayana Nya^^a-
pancanana was Purva-grama. His father was Vanesvara
Vidya-vinoda, who was learned in Nyaya, Purana, Kavya,
Alanikara, Vaisesika, Vyakarana, Rriiti, Nataka and Smrti
(I. 0. (^atal. No. 830). Nyaya-pancanana’s work is called
Vyakara-dipika. Nyaya-paruianana had a student named
Vainsi-vadana whose title was Kavi-candra; he was a
worshipper of Rama and the son of Vasistha and Raya-mati.
His work is generally known as Tippani or Vyakaranadarsa,
He says, none but Varnsi-vadana can explain properly
Kramadisvara and Paheanana (I.O. Catal. 823-829).
Another commentator of Goyi-candra is Kesava-deva
Tarka-paheanana Bhattacarya, whose work is named
Durghatodghata or removal of difficulties, his object being
to remove the misinterpretations on Goyi-candra. His
commentary, so far obtained, relates to the Sanskrit portion
of the work only.
Ixx
PREFACE.
Anotbc^r eoiiunentary on Ooyi-candra is called
Kaumudi by Abhi-rama Vidyalamkara who describes him-
self as Vaiidya-ghatiya or Banerji settled at Gaya-ghara.
The Banerjis so settled were regarded as the highest nobility
in Bengal (1.0. (^atal. 83a~832).
Anoth(‘P commentary on Goyi-candra is jointly by
Gandra-Sekhara, Vidyalarnkara and Hari-rama Vacas])ati,
entitled Artha-bodham (I. 0. 833).
Another Banerji of Gaya-ghara, whose name does not
appear in the work, but whose title was Sar\ a- vidyalam-
kara Bhattacaryya, wrote a commentary on Goyi-candra,
called, simply Tika (H.P.B., Vol. I, No. 5()).
Another Jkinerji of CJaya-ghara named Gopala Gakra-
varti, a disciple of Vainsi-vadana wrote a, commentary
entitled Sarartha-dipika, on (iloyi-(;andra. Though called a
Cakra-varti he was really a Banerji (H.P.R., Vol. Ill, 321
and 322).
Another (commentary on Samksipta-sara entitled
Bhavartha-dipika is by Mahesa Pancanana, son of Vidyar-
nava (H.P.R., Vol, 11, 231).
Even this Samksipta-sara or abstract grammar has a
Sara-sarngraha by Pitambara Sarma. That Sara-samgraha
again has a tika, entitle.d Sandarbha. The author descril)es
himself as the son of Khullana, and writes a poem in
9 cant os on the story of the Ramayana, entitled Ramayana-
chatra-vyutpatti. The poem was written in imitatioji to
Bhatti in order to teach grammar to students (1. O. 846
I and 11, and 847).
This school of grammar is rather rich in its treatises on
roots. The most important of which is (1) Dhatu-mala
by Jumara Nandi, who says in the preamble, that roots
PREFACE.
Ixxi
pame out from the mout h of Malia-dcva ; but in course of
time, they became corrupted and the author simply tries
to purify them (H.P.R., Vol. T, 196).
(2) Tile next, Dliatu-mala, is by Mahesa. It gives the
roots and their meanings, and at the same time their
paradigm, biii. very brietiy (H. IMl., Vol. 1, 197).
(3) Rujia-prakasa by Kulluka-bhatta who should be
ditfenuitiated from his namesake the great commentator
of Manu, Avhose resi<lence was at Nandana-vasi and vlio
settled at Benares. Our Ivullidca was lan inhabitant of
Visala. He gives the ])ara.digm of many roots beginning
with Kala (II.P.R., Vol. I, 324). Kulhlka follows Dhatu-
pradipa by Maitreya,
(4) Dhrd u-ratnavali by Radlui-krsna Sarma was com-
])osed in 1764 A. D. The author’s father was Sri-liari Bmarta,
grandfather Sita-rarna Vidya-nivasa and great-grandfather
Kama-deva Bhattacaryya. The author has collected the
materials of his book from Dhatu-pradipa, Gana-sutra, and
Maiiorama of tfie Katantra school (1.0. 840). Eggeling
says “ The author who seems to belong to the Jimiara school,
professes to have made use chiefly of Maitreya Raksita’s
and Rama-natha’s works.”
(5) Vasu-dhatu-karika is perhaps by one who was
surnamed Vasu. It has seventeen mnemonic verses with
a commentary. It gives the roots taking Atmane-pada and
Ubhaya-pada (I.O. 841-842).
(6) Dasa-vala-karika is by one Dasa-vala consisting of
31 mnemonic verses. It aims at giving a register of all
roots of the same form in different groups of conjugation.
ixxii
PREFACE.
(1) As in Panini so in this school, the siltras often con-
Oanae or words taking Only initial words n-itli ilrli added
the same grammatirni to denote worcls taking t lie Same temii-
terrnination. nation. Tlic iiiost important work on
ganas of this school is by Narayana Nyava-pancanana en-
titled Gana-prakasa (1. 0. 838). At the end of the work,
Nyaya-pahcanana boasts that there is only one Pandita
in the whole of the world and there is no other Pandita to
explain dumara, Ainaia and P>hatti, on all of which he has^
wr i tt en e o nn n e i it a r i(‘s .
(2) (5ana-martanda, a commentary on tlie Dliatn-
patha of the Sainksipta-sara school is by Nr-siipha Tarka-
paheanaiia. \Vliat(‘ver the merits of his commentary may
be, he seems to be very anxious to llourish his genealogy in
th(^ work. He has given a number of verses in describing
his ancestors for eleven geiKTations. The genealogy starts
from Candi-dasa, a Mukherji, the commentator of Kavya-
prakasa. He had many sons of whom Gopi-natha was one ;
Go})l-natha had many sons of whom Madhava was one :
Madhava had many sons of whom Nayana was one;
Nayana had many sons of whom Kumuda was one ;
Knniuda had two sons of whom Sri-hari was one ; Sri-hari
had two sons of whom Syama Vidya-vagisa was one. Ryama
had many sons of wliom Gopala Sarva-bhauma was one;
Go])ala had three sons of whom Kusala Tarka-bhusana was
one ; and his son was the author Nr-siniha Tarka-paheanana,
an inhabitant of Ketu -grama, four miles to the west of
llddharana-pura on the Ganges (1. 0. Catal. 839). The
author gives the genealogical details especially of marriage
of all his ancestors and himself. He say« tliat Gandi-dasa
with whom tiie genealogy commences was a Vanga-meli,
tliat is, that endogamous group of Jladhlya Brahmanas
w hich w as named Vanga-meli. These groups were settled at
PREFACE.
Ixxiii
a great assembly near Kaliia, in the year 1482 a.d. Eleven
generations after that came the author, so he must have
belonged to the 18th century at the latest.
Of other accessories of this school there is a short
treatise on Jhapakavah or a group of indicatory sutras
supposed to be contained in the Sainksipta-sara by Hara-
govinda Vacaspati (I. 0. 837).
Two accessory treatises, one on llnadi, to which the
indcclinables are added ( Vida, 1. O. 834) and tlie other an
appendix on the taddliita section, (I. O. (yatal. No. 835 and
836) have been included in the Calcutta edition published
by Veni-madhava Cakra-varti, at the end of kvt and
taddhita. Their authorship is a matter of dilticulty to
determine. The appeudix with its commentary is by Goyi-
candra Avho in the preamble says —
Some has inter})reted t his verse to mean that Jumara
Nandi wrote a part of the Farisista and Goyi-candra com-
pleted it with a commentary. Others again interpret it
that Jumara Nandi did not write the Farisista at all and
the tifth case ending of will bear both the interpreta-
tions. The colophons are rather confused. In the case of
Unadi and of the indeclinables, Jumara Nandi wrote both
the sutras and the vrtti.
There are in the Sainksiptasara — sutras.
Sandhi-pada . . . . 378
Tihanta-pada . . . . 917
Kidanta-pada . . . , 542
Taddhita-pada . . . . 901
Karaka-pada . . . . 207
Subanta-pada . . . . 405'
Samasa-pada . . . . 507
Total . . 3,857
Ixxiv
PREFACE.
This is very nearly the number of siilras in Panini,
inelu(lini»; the Vedic grammar and phonetics. Belvalkar is
in one sense, rigid in calling the name Sainksipta-sara
a misnomer. Bid J would rather interpret the word in
a different way. T w^ould call it an abridgement of tlie
(udire graTiimatical literature previous to Kramadisx ara.
for he lias utiliseil the materials afforded by all tlie ditferent
schools before him.
If again on the 3857 sfdras are added th(‘ sfdias on
[Tnadi, indec'linables and taddhita-parisisia, their number
will come u]) to 4697, a moderately large number.
Vara-ruei\s name is connected with tin* science* of gram-
mar from the (*arliest tinit\s. Katya-
V.iranicH School
yaiia is said to be another na me of Vara-
ruci. Th(‘ Unadi-siltras are attributed by some to Vara-
ruei. Other works also are often attributed to Vara-riiei.
In this catalogue th(Te are thre(‘ MSS. att I’ibuted to him,
and in order to liring the hitluTto shadoivy figure of Yara-
ruci into a solid basis, 1 have grouped llumi under a school.
The first work is Prayoga-viia‘ka a practical grammar
in twenty-six Karikas and three patalas ; the first on karaka,
the second on conjugations and the formation of verbal
nouns, and tln^ third on sainasa and taddhita. The vwk
has been published in the Trivendrum Sanskrit Series under
the name of Yara-ruca-Samgraha. The editor thinks
that Yara-ruci was one of the ‘Nine gimis’ of thc‘ Court of
Vikramaditya, and the printed work is accompanied with
Narayana’s commentary, entitled Dipa-prablia. Our Cata-
logue, No. 4406, contains an anonymous commentary
entitled Prayoga-viveka. The text deals with the general
principles of the relation of words in a sentence and the
commentary expatiates upon them.
PREFACE.
Ixxv
Our 4407, has another anoviynious coninieiitary entitled
Sanibandha-siddhi.
Our 4408 and 4409 an^ MSS. of the same work, liere
callfid Prayoga-mukha. The work deelares that there are
five Patalas, namely Karaka, Samasa, Taddhita, Tih-patala
and Ki’t-patala. Then^ is no contradi(‘tion involved with
4406, whicli says tliat t he work is divided in three' patalas
and this in five patalas, because in the former, one patala
includes two sid)jects in the last two ])atalas.
Our 44f0 is also an anonymous eojurnentarv on the
sanu' Karikas.
Vara-ruci‘s Karikas seem to have bec'u veu'v popular
and evc'rv locality had a commentary on them. The few
MSS. given here are' written in Newari, Maithila, and J)eva-
1 lagari cl la jueders.
The obj('X't of my bringing th(‘S(‘ MSS. together is to indi-
cate that Vara-ruei wrote a grammar and after finishing it, he
wrote these t wc'iity-six Karikas in the same way as Bharttr-
hari after finishing; liis commentarv on the Maha-bhasya,
wrote his Vakya-padiya or as Bhatt-oji-diksita- wrote his
seventy-one Karikas after finishing his Sabda-Kaustubha.
But this is only an inference, and this inference is made
plausible because different grammarians attril)nte different
sections of grammar to Vara-ruei.
t-angii-dasa was a Kayastha and ho was a Bauddha. He
commences his work with an obeisance
Cfiiign-school Txr ^ ' - . TT-
to Sugata and to Manju-sri. His Kari-
kas are eiitftled Vaiyakarana-jivMu. The number of Kari-
kas is sixty. They deal with the Paribhasas and the philo-
Ixxvi
PREFACE.
sopliy of grammar. This is often called Oangu-vrtti and
even Cangu-sutra. The commentator on these sutras in 4414
(Copied in Piirusottama Ksetra by Vaisnava Raghu-dasa)
says, “why has Cangu-dasa made his obeisance to Sugata,
leaving aside (th(‘ r(‘,al) God Vismi ” ? TJie fact is tliat every
one makes obeisance to Ins Jsia-devata just as Ritranikuru
says, “I make obeisance to Buddha. All Brahmanas are
folloAvers of V^isnu, all Kayathas are followers of sugata, all
merchants are the followers of tlu‘ Sun, Sildras and others
follow Sivaa.” On t he authority of Tri-kanda-sesa, a lexicon
by a Buddhist, the (a)mmentator says that Manjii-sn is
Sugata. H(‘ also says that, the Paramita is measured in
IGOOO slokas of 32 syllables each, (^angu-dasa says that
Manju-sn suppressed four enemies called Mai'as and the
(‘ommcntator explains the four Maras as Dcva-mara, Raja-
mara, Vraja-nuira and Manusya-mara. The anonymous
comnumtary is entitled Sutranvarthiui.
Our Catalogue No. 4415 makes the text 57 verses. This
is a MS. copied at Kasi, near the Laksmi Kunda by Rama-
candra Puri, a SannyasL But he omits the three Buddhist
Mahgalacarana verses. The coinmentary on the 56th
Karika, gives us the following information. “ Candropaj-
naih Sasaka-vyakaranani, Vedopakramam dharmah” mean-
ing that the Sasaka Vyakarana Avas first spoken and written
by (\indra and Dharma or law issued for the first time from
veda. The Caiigu-Karikas arc divided into 6 uddesas, as
Vara-ruca Karikas are divided into 5 patalas, — Saman^^a,
Tyiidi, Krt, Karaka, Samasa and Taddhita. As in the case
of Vara-ruca-Karikas, the Gangu Karikas also indicate
some grammatical work preceeding it by the same author.
Cangu sutras are still studied in Orissa, curiously enough,
along with Rama-candra’s Prakriya Kaumudi which is a
re- cast of Panini.
PREFACE.
Ixxvii
The Sarasvata
The Sarasvata School.
school is based upon 700 sutras of the
simplest kind, said to have been
revealed by the ‘ goddess of Learning ’
to some unknown author. The sutras were meant for the
purpose of learning the Sanskrit language for ordinary
purposes. The Katantra was originally written for the
same purpose, for agriculturists, traders, physicians, recitors
of the Vedas and others, who simply wanted to read ordinary
books in Sanskrit. Bui in course of time, the Katantra
with its commentaries, sub-commentaries, accessories, sup-
plements and further supplements, became a vast literature
by itself, and ceased to fulfil the purpose for which it was
originally meant, and a need arose for a simple Sanskrit
grammar cTiid t hat was su])])lied by the Sarasvata sutras,
The origin of both these grammars is lost in obscurity.
One is attributed to Kumara and the
l^raditiou iihoLit itH ,-1 i j.
otbei* to Saras vati lierselt. Katantra
origin.
took the al]4iabet as it is, but Sarasvata
accepted the Siva-siitras without- “Its” and in that matter,
it is closely allied to Mugdha-bodha. But Mugdha-bodha,
has a system of mono-syllabic nomenclature and devotes
many sutras to the explanation of that nomenclature,
but Sarasvata avoided these definitions by using ordinary
names for them current amongst grammarians. It does
not belong to any ancient school and may be very modern.
The sutras were put together either contemporaneously
with Mugdha-bodha or after it.
In the early years of the Muhammadan conquest it had
a wide circulation. It was patronised
Its diffusion. , t, , i t 1
by some Muhammadan rulers and
many Indian princes. It was current all over India and
not confined to any part of it. It was, of course, ousted
Ixxviii
PREFACE.
by the recasts of Panini and specially by the Siddhanta-
kaurnudi and its abridgement, the Laghn-kaumudi, from
the greater part of Nortliern India. But still it has a res-
pectable following as the (Calcutta Sanskrit Association had
to start an exainiiiatioii for this school, flow widely
diffused its circulation is, even now, may be gathered from
tile fact, that it is still studied in the schools of Nepal, and
about fifty years ago, Dhanafijaya Thakur, the prime-
ministca of Tipperah, published an edition at his own
expense. The candidates for the (‘xamination in Sarasvata,
under the Oaleutta Sanskrit Association, coni(‘ from Bihar,
Benares, Malwa, Nagpore and other parts of NortlnTii
India; and two or threat ccuituries ago comnientari(‘s wca'c^
written at such distant places as \idya-nagara, Andhra
and \ixrendra countries
Commentaries and
sub-coinmonl arios.
It has many commentaries and suli-eomnientaries
but f(‘w accessories and no supple-
ments. Of th(‘ (amiinentaries, two
stand foremost, on(‘ (called Sarasvata-
prakriya and the other iSarasvata-candrika ; both are by
iSannyasis. The first by Anubhuti-svarupaearya and the
second by Rama-candrasrama The Sannyasis seem to have
patronized! this short work in order to have a working
knowledge of Sanskrit for the purpose of reading their
sectarian and ritualistic wnrks. Of these two commentators
the personal hist ory is absolutely unknowui beyond the fact
that they were Sannvasis. Their date also is unknown.
From obscurity and vague tradition we emerge into
solid history with Puhja-raja, a Sri-
mah Brahmana, who hailed from Sri-
mala now called Bhinmala in Marwar,
the home of the f'llmali Brahmaiias. The poet Magha was
Sub-commentary by
Pubjii-raja.
PREFACE.
Ixxix
an early representative of this (leiioniination of Brahnianas.
Puhja-raja was a minister of Giasuddin Kliiliji of Malwa,
who in his old age was ])oisoned by liis son Nasiruddin.
Fiinja-raja was a good administrator. Besides this eom-
mcntary, he wrote two works on rhetoric. He gives us tlio
information that, the sntras cannot b(i new , because, his
Guru Nagendra Puri said that Sarasvati revealed the sntras
to Anubhuti.
Botli Hindu and flaina Sannyasis wrote sub-commen-
t axies o 1 1 Sa ras v at a. t ) f 1 1 \ es(‘. C^a nc 1 ra -
Simnyani sul»-c()Hiinen- i- j* Ji i . x
, kirti, the Jama commentator, was
tanes.
patronised by Salim Sluiln the son of
Slier Shah of Delhi. He belonged to the Vrhad-ga(‘cha of
Nagpor(‘. The Hindu Sannyasi, who wrote another sub-
(‘ommeiitary is Amita-bharatn He wrote his Subodhim at
Purusottama-ksetra. He attributed the Sarasvata sntras
to one Narendra, and in t his attribution he is supported by
lvs(‘mendi‘a, another sub-commentator, who is criticised by
Jaganiatha the author of Sara-pradipika and severely by
Bhatta-Dhanesvara. The latter has named his commentary
as Ksemendra-tippana-khandana. Belvalkara has given
a long list of commentators of the Sarasvata-]>rakriya in
pages 96-102.
The other commentator as 1 have stated before, is
^ Ramacandrasraina. His work is com-
J no SarasvHta-Canrlnka.
mented upon by Lokesa-kai’a, the son
of Ksemahkara and the grandson oi Bama-kara. He hailed
from Vidya-nagara, and wrote his commentary entitled
Tatva-dlpika in 16S3.
A third independent commentary on the Saras\ata
grammar was written in 1614 or 1612 in the reign of
Ixxx
PREFACE.
Jehangir by Tarka-tilaka Bhattaearvya wlio points out
many interpolations in Annbliiiti-svariipa’s Avork. Raglui-
natlia, a pupil of Bliattoji-diksita, a Nagara-Braliniana
wrote a connnentary entitled Lagliii-bha.sya in imitation
of the Malia-l)liasya.
Of tb(' accH's.sories of the Saras vata tJieix^ is a Dliatu-
patlia by Harsa-kirti, the pupil of
1 ( *f*Prf'* I
rhndra-klrti about 1560 A. D. Tliough
Sarasvata is tlie smallest of grammars yet there are abridge-
ments of it. (1) Laghu-siddhanta-candrika by Bama-
candrasrama. (2) Lagliu-sarasvata by Kalyana-sarasvati.
A])art from the tradition that the sutras were n'va^aled
to Anubliuti-svarupa, we see that one Narendra is the author
of the sutras. He is mentioned as the author in I.O. (hta-
logue 793 where he is eal led Riraiiia-hainsa-pari vra ja kaccBya .
The story of the writing of the sub-commentary, by Sri-
liama-bhatta of the Andhra country, is very interesting.
But as B(‘lvalkara has given it' in full, I need not repeat it
here. Govinda caryya’s saravat a-bhasya-tika entitled Pada-
candrika shows that in the 16th century, the study of
Sarasvata school Avas prevalent in Bengal. It Avas composed
in 1599 (H.P.R., Vol. IV, 337).
During early British period Wilkinson studied the
Sarasvata-sutras as an elegant treatise on grammar. A copy
of the Sara svata -grammar Avas made at Rangpore for the
use of an European Officer there. The first Sanskrit gram-
mar in English AA^as based on the Sarasvata.
The Mugdha-bodha was written in the last days of
Hindu independence in the Maratha
country during the reign of Mahadeva,
the last but one king of the Yadava
S
Mugdha-bodha School of
Grammar.
PREFACE.
Ixxxi
dynasty of Devagiri, the iiarne of which was clianged into
Daulatabad, by Muhammad Tiig^luq who wanted to trans-
fer the capital of India from Delhi to it. The King Maha-
deva had a minister, an architect, an engineer, a chief-justice
and a general in one person, named H(unadri, who has written
encyclo])aHlic works on Hindu religious rites. He had a big
Jaygir, and he had a friend named Vopa-d('va. The deri-
vation of the name is rather curious, U means Siva and A
means Visnu ; U and A- Va : and a worship])ei‘ of these two
deities will hv (tailed a Vo])a-deva. Similar nam(^s are to
be found among the authors of the previous centuries. One
Vopalita, tlie lexicographer, is in point . Vopa-deva was the
son of K(\sava who practiced medicine, perhaps he was an
army surgeon. For Vo])a-d(‘va often says that his books
were' wtitlen in th(‘ house of his father in the camp. Vopa-
d(‘\'a was the pupil of Dhanesvara who was a very learned
man. H(‘ taught th(‘ Vaisesika and the Vedanta darsanas.
Vo])a-deva wrote ten works on grammaj’. (1 ) Mugdha-
bodha (2) its Dhatu-patha entitled Kavi-kalpa-druma with
about 1754 roots and (3) its commentary, the Kavya-Kama-
dhenu which is much prized for the quotations it gives. Of
the ten, these three are well known.
Vopa-deva is said to have been the author of the
Srimad-bhagavata. But t his is wrong. Vopa-deva wrote a
commentary on the Bhagavata eiititled Parama-hamsa-
priya in which he has shown that the Bhagavata contains
at least 1000 archaic expressions not sanctioned by the
grammars of the classical language. {Sec our Catalogue No.
368 1 . ) He also wrote two works on the Bhagavata ( 1 ) H ari-
lila and (2) Mukta-phala. In writing these two works he was
inspired by Hemadri. He wrote nine works on medicine
(one of which was Sata-sloki) which are still much used by
Ixxxii
PREFACE.
Ayurvedic pliysicians in Rajpuiana. He wrote a work on
Dharma-sastra and three works on literature. (Hee our
Catalogue No. 4519.)
The object of writing Mugdha-bodha was economy.
Economy both of syllables and of exertion. The economy of
s^dlabh^s has bet‘ji achieved by reducing grammatical no-
menclature into mono-syllabl(‘S. For hrasva and dirgha of
Pjiiiini, he would say sva and rgha; guna and vrddhi he
would redu(*i‘ to nu ajid vr; for samasa he would write sa ;
instead of writing the big names of samasas he would write
ca, ha, ja, sa, ga, va ; prathama, dvitiya, trtiya etc., he has
duced pi1, dvi, tri and the numbers an* ka, dva, vva ; sarva-
nama is sri, dliatu is dhu, and prati-padika is li ; the moods
and tenses he has named, ki, khi, gi, ghi, ti, tin, di, dhi, ti, thi ;
taddhit lie has reduced into ta ; parasmaipada and a tmaiu^-
pada into pam and main. Thus he has reduced all gram-
matical t{‘chnical terms into algebrical form but the idea
is not originally his ; he has got the hint from daincuidra
grammar. Panini has devoted much of his tim(‘ and
trouble in deriving the 1 80 conjugational intlections from
18 original ones. But Vojia-deva has given all the 180 as
inflections. How he has saved exertions of pupils may be
seen by the fact, that he has reduced the whole of classi-
cal Sanskrit grammar into 1184 sutras. Sometimes a whole
pfida or section of Panini has been reduced to one or two
sutras, pretty long ones though.
A time was when Mugdha-bodha was a great favourite
with Sanskritist all over India, but the rise of the Mara-
tha schools of grammar in the 16th century has confined it
to both sides of the Hugly in Bengal. Mugdha-bodha was
used in Bengal even in the 16th century, in which Vidyil-
nivasa, the father of the renowned Visva-natha Tarka-
PREFACE.
Ixxxiii
pancanana, tlie author of tlio Bliasa-pariecheda, wrot(' a
commentary on it, (1) and founded something like a school
witli his commentary, for Rama Tarka-vagisa says, in tlie
preamble of his commentary,
II
TJiere is a MS. of Snn ti-Kalpa-taru copied for Vidya-
nivasa in the year 1588 A.l)., by a Kayastlia, named,
Kavi-candra, catalogued in the India Ollkn Library. Vidya-
nivasa wrote several works on Smrti and t wo on pilgrimages
to flagannatlia, the only Tirtha not. violated by Muhamma-
dans up to his tim(‘. He was sevcu’al times invited to i)(‘lhi
in great assemblages of panditas. 'rocjara-jnalla and Mana-
siraha, Subadars of Bengal, wen^ great admirers of Ins old
father Vidya-vacaspati, himself and his three sons, Visva-
natha, Rudra and Narayana, all of whom were erudite nun.
If a man in the position of Vidya-nivasa takes interest in
the spread of this school of granimar, he is sure to be very
successful, so Mugdhabodha which was composed in the
Maratlia country, has taken a deep root on the Hugly. No
MS. of Vidya-nivasa’s commentary has yet been obtaijied,
but many subsequent commentators have named him or have
quoted from him. This is the first commentary in Bengal.
(2) The next big man in this school is Rama Tarka-
vagisa, the progenitor of the (Jhosala’s of Ariadaha near Cal-
cutta. Babu Girisa Candra Ghosala of Belgharia subse-
quently settled at Naihati. He died in the early years of
the 20th century and was ninth in descent from him. He
may therefore be safely placed in the early years of the 17th
century and is quoted by Durga-dasa in 1639. Sir George
Grierson says that Rama Tarka-vagisa wrote a grammar on
Prakrta language also. But his great work is his commeii-
Ixxxiv
PREFACE.
tary on the Miigdha-bodha, which though a school book at
hrst, was made to vie Panini by his commentary. He has
reduced a number of Panini’s siltrasand the siltras of other
grammais into the algebrical language of Mugdha-bodha
and have included them in his commentary, in order to make
the work as comprehensive a grammar as possible. He
also wrote a su])])lement to the Mugdha-bodha.
(3) The next important Pandita of this school is Durga-
(lasa Vidya-vagisa, who describes himself as the son of
Gahgo-hya Vasu-deva Sarva-bhauma, who is not to l)e
confoumUal with the g!*(‘at Vasu-deva 8arva-bhauma, (a
Bauerji) wlio ))r()ught Nyaya-sastra from Mithila and who
died at Puri as a disciplt^ of Caitanya about 1533 A.l)., in
his old age. Diirga-dasa wrote a commentary on Mugdha-
bodha entitled Subodha and another on Kavi-Kalpa-druma,
both of which are still used by students. Hurga-dasa in
his commentary on the Mugdha-bodha C|Uot(‘s Ramananda-
Kasisvara and Rama Tarka-vagisa. (4) Ratuananda’s
commentary is described in I.O. Catak 852. Its objecd is to
include words derived in the Katantra supplement of Sri-
pati. (5) Devi-dasa Cakra-varti is another commentator,
but we know very little about him. (6) Kasisvara
quoted by Durga-dasa was another commentator of the
Mugdha-bodha and perhaps a writer of a supplementary
treatise to it .
The seventh commentary is written by Govinda-rama
Vidya-siromani entitled Habda-dvpika . In the preamble
he makes his obeisance to Ramananda and others. The
object of his commentary is to refute wrong interpretations
and to make it perfect. He quotes Devi-dasa also.
The eighth, entitled Balci-hodJiini, is written by Sri
Vallabha Vidya-vagisa, (he had perhaps another nsune
PREFACE.
Ixxxv
Bhagiratlia) son of Syama-dasa Mukherji and Bhavani.
He quotes from Durga-dasa.
Rama-bliadra Nyayalanikara is the ninth comment-
ator.
The tenth comnmntary is known as Prahodhamkura
by Vrndavana-candra Tarkalarnkara Cakra-vartb son of
Radha-Krsna Kavindra-c-akravarti. Though the names
of the father ajid tlie son indicate Vaisnava cult, the work
in the beginning invokes Siva. He comes after a long line
of commentators. But, he says, that his object is to make
Mugdha-bodlia easy. (See Sans. Coll. CataL Vol. VIII, 167.)
'Jlie eleventh commentary is Suhodha by Kartikeya
Siddhanta, current in the schools of Nava-dvipa. After
closing the comnKuitary the author, showing humility as
usual, gives a genealogy beginning with his great grand-
father, a resident of Vaidya-ejahga. His great grandfather
was Caitanya Sarma, his grandfather Rama-deva, and his
father Dhira-mana. The object of his work is to give quick
])roficiency to students and he follows the old tradition.
He quotes Durga-dasa, Rama Tarka-vagisa, Kasisvara,
Vacaspati, and Kama-dhenu. (Our Catalogue No. 4530.)
The twelfth commentary is by Ganga-dhara Tarka-
vagisa, son of Siva-prasada Tarka-pancanana of Kumara-
hatta or HaUsahar, 28 miles north of Calcutta, on the
Ganges. Ganga-dhara was a grammar Pandita of the Sans-
krit C^ollege, Calcutta, in its early days, and he composed the
work in 1835, twelve years after the foundation of the
College.
The 13th commentary named CJiata by Misra is des-
cribed in I. 0. Catal. p. 867.
Ixxxvi
PREFACE.
The 14th commentary is MvgdJia-hodha-mbodhim by
Radha-vallabha Tarka-paficanana, who quotes from Durga-
tika, Katantra-parisista, Dhatu-pradipa and Dhatu-
parayaiia.
The ir)th is Madhumati, a commentary by Madhu-
sudan Vacaspati, whose object is brevity. Sainskara-
sammanjari, by anotlier Madliu-sudana wlio was a Chat-
ter ji, is the 16th (a)mmentarv.
The 17tlj is by Bhola-natha named Smtdarhhamrid-
iosim. He quotes from Durga-dasa and Madhu-sildana.
He seems to have been a. studcait of Madhu-siidana.
Mugdha-bodlia was meant as a- school book, but as is
the habit' of the Indian PaJiditas, they
wanted to nuike it as complete a work
as any other school, some b\ commen-
taries and some by supplements. Three supplements to
the M ugdha-bodha are known.
1, By Nanda-kisora Cakra-varti Bhattacarya, written
in 1398 (Belvalkar, para 85), Nanda-kisora perhaps M^as
not a Bengali.
2. By Kasisvara who studied the works of Panini
and other schools, wrote a supplement to the i\1 ugdha-
bodha.
3. By Sri Rama Tarka-vagisa, who says that he is
waiting the Sesa or supplement to the Mugdha-bodha
(L. 2169). He writes only those facts of the language
which are not to be found in the Mugdha-bodha itself.
PREFACE.
Ixxxvii
Of the accessories of tlie Mugdha-bodha, ( 1 ) Kavi-
kalpa-druiiia on roots and its com-
mentary, the Kavya-kama-dhenu, both
by Vopa-d(‘va, have been mentioned
already. A commentary of th(‘ K<m-ka]pa-druma by
Durga-dasa is much in use in Bengal (Our Oalal. 4547-4550).
Accessories of tin*
Mugdhabodha
Another commeutary on the Kavi-kalpa-dninia is
descri})e(] in T. O. ( 'atal. 879 by Rama-rama Nyayalainkara,
who quotes as his authorities (myi-candra, Tri-locana, Rama
Tarka-vagisa, Bliatta-malla, Maitrcyaand Vistara-vrtti.
A se(‘Ojid work on roots in imitation of tlie Kavi-kalpa-
druma is ])y Napayajia written in A.I). 1654 though the
date is ratlicT doubtful.
Fho Cnadi of
Mugdlmbodha.
Rama iSarma u rote an Unadi-kosa in verse to which
Raina Tarka-vagisa a])pended a com-
mentary. Hama Sarma’s kosa was
from Pcinini, Katya yana, and Patanjali.
He lays tlu^ foundation of his commentary on tlie sutra of
^rugdha-l)odha " : so this is a kosa of the
Panini school wliic^h has Ixvn suited to tlie Mugdha-bodha
school by Tarka-vagisa (I, (). r^atalogue 874).
Karaka-laksmanani, anonymous, and Karakollasa by
Bharata Mallika, are metrical treatises on Sanskrit syntax
belonging to the Mugdha-bodha scdiool, to be found in
Nos. 4537 and 4537A of our Catalogue. Bharata Mallika
flourished in the middle of tlie 17th cent-ury at Patila-pada
near Jam-gan in the Biirdwan District, and the anonymous
work is very rich in quotations and very useful for scientific
study.
Karaka-candrika by Rama-candra must be a very
modern work as it quotes from Supadma Vyakarana and
Raghu-nandan Bhattacaryya. ^(Our Catalogue No. 4651 A.)
Ixxxviii
PREFACE.
Our last number on Mugdha-bodha is Vartika-mala,
a collection of supplementary sutras from Durga-dasa’s
commentary on Mugdha-bodha by Rama-candra Vidya-
lamkara, a disciple of Jagan-natha Tarka-pahcanana.
Jagannatha Tarka-pahcanana was a prominent scholar in
the i8th century. He lived at Trivei.ii and wrote a digest
of Hindu law for the East India Company.
In the 14th century of the Christian era, Mithila was
, ^ ruled by a Brahmin dynast v founded
Supadma grammar
by Nanya-deva at the beginning of the
12th century afiei* the fall of the Karnataki kingdom.
They wanted a grammar of their own as they had smrtis
and nyaya works of their own. So Fadma-iiabha wrote the
Supadma vyakarana with the object of giving a clear and
full (m'i, idea of Sanskrit grannuar to ordinary
students, bur at the same time, leading them to Panini
school, if they wanted to be experts in grammar. Padma-
nabha gives his own date in his work entitled Pri^jodaradi
vrtti (H.P.R., I, 228) as 1297 of the Saka era equal to
13713 A.i). Padma-nabha himself, besides the Supadma-
vyakarana, its Pafijika and Prayoga-dipika, wrote many
other works as Unadi-vrtti ; Dhatu-candrika (or Kaumudi) ;
Yaiiiluk- vrtti ; Paribha^a-vrtti ; a poem named Gopala-
carita ; a commentary on Ananda-lahari ; on Magha ;
Chando-ratna, a work on prosody ; a work on smrti named
Acara-candrika and a lexicon named Bhuri-prayoga.
(H.P.R., I, 223 and I. 0. Catalogue 890).
In our No. 4557, Padma-nabha gives his Genealogy
^ ^ from Vara-ruci, who is said to have
Genealogy.
graced with Kalidasa, the court of
Vikramaditya.
PREFACE.
Ixxxix
Varanici
I
Nyasa-datta, expert in Maha-bhasya
Diirghata, expert in Panini
Jayaditya, expert in Miniamsa
: ■ I
tSri-pati, expert in Samkliya
Ganesvara, expert in Kavya
1
BhaTUi-bbatta, author of Rasa-mahjan.
Halayudha, expert in Mimainsa
Sri-datta, expert in Smrti
Bhava-flatta, expert in Vedanta
Damodara, expert in Kavya and Alanikara
Padma-nabha.
Padma-nabha Avas an inhabitant of Bliora grama, a few
miles from Darbanga. Padma-nabha’s work, however,
is not much studied in Mithila. Its study is confined to
the districts of Jessore and Khulna, and the towns of Nai-
hati and Bhatpara.
Padma-nabha himself wrote a commentary on his
own work entitled Tippani or Pahjika,
which has not yet been obtained. His
Prayoga-dipika may also be regarded
It shows the working of the rules of
the Supadma grammar. It is divided into chapters on
Karaka, Sandhi, Samasa, Krt, and Taddliita (our No. 4661).
Commentaries on
Supadma Grammar.
as a commentary.
The No. 4563 represents the declensions of the
Prayoga-dipika.
xc
PREFACE.
The best eomnientary on the 8iipadma is tlio Siipadma-
makaraiida by Visipi-inisra in twenty sections called
Vindiis. Sii-])adnui is a lotus, the comiuentary is honey
and its chapter drops. (I.O. Catalogue 885.)
Our No. 4565 is put down as an anonymous (^oinment-
ary on the Supadma, but it is really one of the twenty
vindus of the Supadma-makaranda.
The second commentary on Supadma called Sainkari
is by Rama-sanikara Tarka-paheanana. He bases liis work
on the opinions of his elder brother and \dsmi-I\lisra.
Many of the accessories of this schooJ of grammar
were written by the founder of the
Ac..,.«son.,.sof Supadma aamelv. Paribhasa-vrtt i
Caamraai’,
(our 4557 to 4560) and Yamlugadi-
vrtti. Tn Sanskrit- grammar the use of frequentative yain
is the most diflic ult part and becomes still more diflicult
when the fnapientative affix is dro])pod, that is, when
yainluk takes place. Padma-nabha gives a special treat-
ment to this disa])})earance of the frequentative clement,
and tliis is a new feature of this school (Our Catalogue
No. 4562), Unadi-vrtti (I.O. Catal. 891) consists of two
chapters. The tirst treats of vowel suffixes and second of
consonantal suflixes arranged alphabetically according
to the hnal consonants. Prasodaradi-vrtti by Padma-
nabha is a part of liis Unadi-vrtti, but this is opposed to
tlie opinions of other grammarians who consider Pra.so-
daradi as an appendix to the Samasas and Unadi to the
Krt chapter. But owing to the difficulty and uncertainty
of both, Padma-nabha has treated them together. Padma-
nabha gives a date in this work as, equal to
Saka 1297=-1375 A.T).(H.P.R.,I,228). Padma-nabha gives
PREFACE.
XCl
his gemealogy in this MS. in which the 5 lines giving the
names of five of his immediate ancestors are iinfortunately
missing. The work differs greatly from tliat of Pan ini ; only
the first sutras of the two chapters agree. Dhatu-patha (I.O.
Catal. 893) is probably the Dhiitii- Ivaiimudi mentioned in the
list of Padma-nabha's works. With it there is a comment-
ary called l)hatu-niri.\aya by an anonymous writer. The
authorities most frecjuently nfierred to in the commentary
are Halayudha, (^o\ inda-bhatta, Bhatti, T)urga, and Tri-
locana, Dhatu-pradipa by Maitreya-raksit and voy3a,
A^opa-deva. Less frecpientlv mentioned authors are Aruna-
datta, Kausika, Ksira-svami, (Jada, Gobardhana, ('atur-
bhuja, Jaya-mangala, Durghata, Dnrghata-vrtti, Dhatn-
Kclrika, Padma-nabha, l)haf-n-Parayana, Parayanika. Puru-
sottania, Piirna-candra, Bhatta, Bhaga-vrtti, Bhuri-pray-
oga. Babhasa, Ivarna, flania-dasa, Rudra, Vara-ruci, Varna-
desana Vardhamana, Vallahha-deva, Vamana, V^H^rama-
ditya, Vrtti, Sabdarnava, Sarana-deva, Sri-pati, Supadma,
Sparsakarika, Hari-dasa and Henia-mala.
The same (catalogue contains a metrical arrangement
of the Dhatu-patha by an unknown Brahmana, the son of
Sundara and Jaya. Thc^ work is entitled Gana-pafiktika.
The author thinks that ins work will be useful to those
who study Vyakarana, Puranas, Sahitya, and current
Smiti.
From the Unadi-vrtti of Padma-nabha a glossary
of words was formed by Rama-govinda, the son of Rilpa-
narayana Cakra-varti. The name of the work is ‘‘ Sabdab-
dhitari,” a boat for (crossing the ‘‘ Sea of words,”
Padma-nabha’s Paribhasa or Paribhasa-vrtti has a
commentary by Ra ma-natha Siddhanta, who explains
XCll
PREFACE.
not only the Paribha^a but the genealogy also and the list
of works by the author. Padma-nabha is said to have
written all these works at the request of his father.
Rilpa-narayana Sena, a physician, has written two
works Sarnasa-saingraha and Supadma-sat-karaka. They
are metrical summaries of the Karaka and Samasa (;hapters
of tile Supadma-Vyakarai.ia. The sumrnariser says that
he is a resident of Payo-grama.
The date of Rilpa-narayana is given i
Eggeliug says “This would give Saka 1701 (A.D. 1779)
hardly Saka 1401 (A.l). 1479) for the date of Riipa-nara ya-
na’s composition. In aiuaent India always meant
four, but in modern India especially in Eastern India, it
means seven, so Rupa-narayana’s Saka would be 1701 and
not 1401 The commentary on the metrical summaiy is
taken from Vi§nu-misra’s work and Rupa-narayana says
that V^isnu-misra’s tika punhes the mind like the waters of
the Ganges.
Rama-bhadra Nyayalanikara writes a versified sum-
mary of the chapters on declension of Supadma, entitled
Sabda-vah. His object is to have a Supadma-prakriya in
the same way as the Jvatantra-prakriya for the comprehen-
sion of little boys (I.O. Catalogue 889).
Rupa-rama Nyaya-paheanana wrote a work on syntax,
according to the Supadma school, for the comprehension of
little boys. Teaching of Supadma grammar was perhaps
hereditary in the author’s family.
Sultan Ala-ud-din Hussain Shah of Bengal about
1500 A .D. , destroyed the Kingdom of Kamatpur. It then in-
PREFACE. XCiii
eluded Dinajpur, Rangpur, Gauhati and other districts. But
out of its ruins, in a short time, owing to the pre-occupation
of the Bengal Sultans in other directions, rose the powerful
Kingdom of (boch Biliar.
One of the Rajas of Oooch Biliar in the latter lialf of the
Ihtli century recpK'sted their court-
paiKjita Purusottama-vjdya-vagisa of
Khagda>l)adi in (Vioch Bihar to write
a grammar. The ])aiKlita wvoto a nuuiber of karikas and
to explain these he wrote a grammatical work entitled
Prayoga-rat ua-mala, in the year 1568 A.i).
^T%”, tiuil is, Saka 1490 and this date seems to be the
correct one and not 1772 as given in 1.0. Oatal. 895, liecause
one of the tlk^-h^ras Mahendra-sarma-upadhyaya on
the krt. section, gives his date as ”
that is, Saka 1687 equal to 1765 A.I),
Piirusott-ama was proheient in Panini and Katantra
and he has tried to blend together the nomenclature of
both these systems. He includes Ks in the Sanskrit alpha-
bet and says he has done so only for mantras, that is, be-
cause the tantrikas accepted the Ks as the last letter of the
alphabet. He also says that he included that letter to show
that he was not a slavish imitator of Panini. In the same
breath he says that the letters from A to An may be called
either Svara (kalapa) or Ac (Panini). Purusottama’s gram-
mar is not an elementary grammar, but a grammarian’s
grammar. It deals with many grammatical puzzles.
In the main, Purusottama has used the nomenclature of
Katantra and has taken examples from that grammar. In
his time, the grammar of Candra used to be studied in Bengal.
On several occasions he has quoted Candra, Thus, in para
XCIV
PREFACE.
773, lie says, fftf
^THT^JTT^J /’ li(‘ quotes in para 806, Ratiia-inati a coininent-
ary on C.^andra (our Catal. No. 4413). Following Candra he
derives ^wrffT and from two indcclinablcs and
x.
meaning wife (para 852). In para 881, ho says, ‘‘
that is, tlu^ originality of Candra was that
he had no Sanijhas or definitions (
Anotlier grammarian whom he qnot(^s occasionally is
Subhfiti. Purusottama is fond of quoting from Buddhist
works; h(‘ quotes 4Vi-kaiula-sesa ; he mentions Mahju-sri.
Ho points out non-grammatical expressions from Buddhist
v'orks. “ ^ 1 ”
l^ira 134. He names his chapters as Vinyasa-s or dis])Osi-
tions.
The grammar is studied in (k^och Bihar, dalpaiguri,
Gauripura, Hakania, Salkacha Laksmi'
The extent ot ils sUi(l> , i - .
])ura. Bijm, liabara-gliat, Kamarupa,
Assam, Pahgu and other jilaces.
The whole of the work is accompanied by a very
modern commentary by the editor of
orni pntnriefi. ^ priid-cd oditioii Siddha-iiatliaT^arka-
vtigisa, entitled Gutlha-prakasika. B\it. it has other and
older commentaries also. The edition printed under the
patronage of tlu‘ Pooch Bihar Rajas has, for the greater part
of the work, a commentary named Prabha-prakasika by
Jaya-kri^iyx Bhattacaryya. For tlie taddhita chapter it
has pahjika by flivt^svara Bhattacaryya; for the krt
chapter it has krt-prakrxsika by Mahendra Bhattacaryya
written in i 765 A. I). This edition of the work is very credi-
tabk^ to the Government of (^ooch Bihar. The work has
PREFACE.
XCV
been executed by Siddha-iiatba liiiuselt, a conimeiitator,
with scrupulous care.
Katantra, (-aiidra aiul Jaiiieiidra, cast Paniui s gram-
mar, with additions and improvements
Kocusts of Paniiu. Katyayaiia and Patahjali, into tlie
sliade. Bbartli-bari in the 7th cauitury re-introdu(‘ed tlu^
study of Paiuni b\' his commeritary on tlu' Maha-bhasya,
Ijvhis ])hilosophy of grammar the \7lkya-padiya, and some
say, by his .Bhaga-vrtti too. But this is very doubtful.
The study ol Pa iiini was really restored not by his friends,
the Ih'ahumnas, but by his enemies, tlie Buddhists, Jaya-
ditya, V7unana, flinendra-buddhi, Mailreva-raksita and
Piirusottama-deva. W hat uith Brah manic* ami v\hat with
Buddhistic commcuit aries, tlu‘ study ol l\‘inini becajni' very
cumbersome, and so, it was thought desirable to recast the
Astadhyayi and give it a, practical shape; that is, to
evolve out ol this vast literature, school books large and
small. The sjiiallest of these recasts is Rupa-mala by
\dniala Saras vati composed about the beginning of the 11th
century, as it cpiotes Bhoja who flourished in the eaiiicT
part of that century. Its sections are called malas as
Sainjha-mala, yarva-naina-mala, Niyata-linga-mala, (lian-
( lasa-mala, Stri -prat yaya-mrda, Sarva-dhatu-mala, Lakarar-
tha-mala and so on. He adopts Paiuni’s nomenclature
and Panini’s method of interpreting sutras, and as it is an
abstract of Panini and its recast , it has a chapter on the
Vedas also.
Then comes Rfipavatara by Dharma-kirti. It was
adopted in the grammatical curriculum of the cciucational
institutions established by Rajendra-Cocia, in the beginning
of the 11th century. This emperor Rajcndra-Cocla raided
Bengal about 1028 A.D., where he conquered the kings of
XCVl
PREFACE.
Dak^ina Radha, Uttara Radha, Danda-bhukti, Sabgha-koti
and Vanga. It was he who established these educational
institutions. He made provisioji for the subsistence of pro-
fessors and students. Twenty-five students were assigned
to each professor. The Rg-veda liad three professors. Tlie
Taitiiriya and the Vaja-saneya sakhas of the Yajur-veda
had twenty-five students and one professor each. Tlie
Kauthumi-saklia and the daimiiuj^a-.^ikha of the Sama Veda
had twenty-five students and one professor eacli. The
Prabha-kara school of Miinanisa had twenty-five students
and one professor. Rilpavatara grammar liad twenty-five
students and one professor. [Ami, Kip. Kpi., 1918, p. 146.)
So lvup<ivalara was composed some time before t liese insti-
tutioiis were established, say, in the latter lialf of the
J 0th century. Its sections are called avataras; such as
Sainjhavatara, Sainhitavatara, Avyayavatara, Stri-pratya-
yavatara, Karalvavatara, Samasavatara, Taddhitavatara.
Thus ends tlie first half of the work. The second half is
called the Dhatupratyaya-paneika, though it ends with
the word Rilpavatarah samaptah.”
Both Rupavatara and Rupa-mala omit many sutras of
Panini, but they treat of the Vedic grammar though very
slightly. They avoid all that is difficult even in classical
Sanskrit. In the first half of tlie Rupavatara, for instance,
only 1426 sutras have been included. Rupavatara accepts
the Siva-sutras of Panini and generally accepts his nomen-
clatur(\ It is in the form of a catechism. It gives examples
first and then brings in Panini’s sutras.
As the author of Rupavatara is a Singhalese and
Buddhist, he does not care much for the Vedic irregulari-
ties. It has been printed from Madras by Rao Bahadur
M. Rangachari, M.A,
PREFACE.
XCVll
The Rtipavatara was current in many parts of India.
Its MSS. have been discovered in Nepal, Travancore,
Madras and other places.
The next recast of Panini was prepared in the Andhra
country by Rama-candracarya. It omits but few of Panini’s
siitras and treats of the Vedic grammar and Vedic phomdics,
too. Rama-candra’s grandson Vitthala writes a comment-
ary on his grandfather’s work. Both the grandson and
the grandfather give a lot of information about themselves,
their family, their literary works, their spiritual descent from
gurus and so on. This is one of the few instances in which
authors of Sanskrit works arc not reticent about giving the
history of their family.
Rama-(;andra has a chapter on the Vedic grammar
and Vedic phonetics. But, he seems to have rejected many
difficult rules of Panini. He was liberal enough to admit
the opiTiions of other schools of grammar also, for instance,
Katantra and Caudra which, in many cases, dilfer from
Panini.
Date of Praknya
Kaumudf.
Sir R. G. Bhandarkar’s date 1450 A.D., has been
accepted by the editor of the Prakriya-
prakasa in the Bombay Sanskrit Series,
though from the date of one of his
MSS. he says it was written in the fourteenth century. The
editor of the Rupavatara in his Sanskrit preface accepts
the same date. Eggeling, also, apparently accepts the same
date but in his Catal. No. 621 he raises an objection
stating that Rama-candra composed and Vitthala’s father
Nr-simha commented upon the Kalanirnaya, a work placed
by Colebrooke in about 1243 A.D. {3Iiscellaneous Essays^
Vol. II, p. 379, Note.) That note runs thus: —
XCVlll
PREFACE.
Raiiia-candra, who in the Kala-nirnaya states the
quantity of precession as amounting to 12°, and reckons
tlie prcc(‘Ssion at a minute of a degree a year, seems also to
have follow(ul the same aut liority. He may, therefore, have
written about sixty years suhsc^quent to the date of the
Karana-kutiihala; or Saka, ll()5. This ascertainment of
t he age of Tvaina-ea.ndi'acarya is a step towards investigating
tlie age of wi’iters in other branches of science, who have
quoted this author, and who are cit(‘d by him. Tljey are
numerous.”
blggeling under Catal No. bit says ^‘According to a
note, by Col(t)rooIve. on the first leaf, Viiesvara Sesa, then
living at Ifeiieras, was reputed to be a desetmdent of the
author of the Prakriya-kaumudi, and stated liis own
geneaJogy as follows: —
Pva n ) a-candra pavidita.
Nr-simha pandit a
Narayan.a ; a edit a.
Caki; ]),oii pandita.
V 1 res V a i *a | )a i a ] i ta .
Sambhu ])an(lita.
Oopala pandita, and then
Vhresvara paiajita liimself.”
Thus 1 have stated in full, all the theories about the
date of Rama-candra, the author of tlie Prakriya-kaumudi,
by competent scholars of modern times, and 1 think, Sir
R. (h Phandarkar’s date, cannot stand for the following
reasons : —
(1) In the 15th century the whole of the Andhra
country was in a tumult. The Hindu Rajas of Warangal
had constantly to fight with the Bahmanis. Ahmed Shah
Bahmani, in 1424 A.D., sacked Warangal and killed the
PREFACE.
XCIX
last of tile Kakateya kings. Though the Muhammadans
could not conquer and annex the whole of the Andhra
country, it was always in a tumult till the Kutub-shahis in
16th century finally put an end to Hindu independence in
that part of India. That was not the century in which a
work like Prakriya-kaumudi could be composed.
(2) If what Mahamahojiadhyaya Vindhesvari-prasada
Daube of tlie Sai*a.vati-I)havana, of Benares wrote to me is
true, a manuseript of Prakriya-kaumudi was copied in
1420 A.l).
(3) Rama-candra had written three works, Kala-niri.ia-
ya, Prakriya-kaumudi and V\aisnava-siddhanta'(li])ika.
Writers of Kala-niriiaya generally indicate tlic date of
their composition in their book. In fact, they commence
their cakuilation of time from the commencement of writing
tlieir work and if Rama-candra states the ([uantity of
precession as amounting to 12'' and reckons that precession
at a minute of a degree a year, lie seems to liave followed
a principle accepted by Hindu astronomers. Tlic Karaiia-
kutfihala, written in Saka 1 105 calculates the quantity of
precession at- 11°, so bet-wccii Karana-kutuhala and Rama-
candra there is a difference of one degree, that is, 60
minutes, that is, 60 years. So Rama-candra must have
flourished in Saka 1165, tliat is, 1243 A.l). This wall make
the copying of a MS. in 1420 possible.
(4) Against this theory, stands the statement of Sesa
Viresvara, that he was eightli in descent from Rama-candra.
But eight generations would not take Rama-candra even
to the 15th century. Eight generations would be three
centuries and three centuries before Colebrooke would be
1510 or thereabout.
c
PREFACE,
(5) In his introduction, page xlv to the Prakriya-kau-
mudi, K. P. Trivedi writes the following: —
“ Rama-candra, Vitthala and Hemadri. — The Prasada
and the Prakriya are quoted by Hemadri in his comment-
ary on (vide 15-69. and p.
:U1 of the text and
^ "" and p. 584 of the text). It is clear
from this tliat Pvama^candra lived before Hemadri, a pre-
decessor of the commentator Malli-natha, who is assigned
to the fourteenth century. This confirms the conc^lusion
that our author flourished in tiic fourteenth century. ”
Does this statement (jonlirm tlie conclusion t hat Rama-
candra flourished in the 14tli century, that is, between 1300
and 1400 ? It does not. Mallinatha’s son was tlie court
pandita of the last king of Warangal. Malli-natha there-
fore belonged to the latter part of the 14th century, and
Hemadri his predecessor (if he is not the great Hemadri
the friend of Vopa-deva) must have flourished at least
in the first half of the 14th (-entury. Even then if Hema-
dri quotes Vitthala and Rama-candra, they must go to the
13th century, that is, Vitthala in the latter part and his
grandfather Rama-candra in the earlier part of the century.
So fblebrooke’s calculation, that he flourished in 1243 A.D.,
stands as correct.
This refutes another theory of Prof. K.P. Trivedi that
the Kala-nirnaya commented upon by Rama-candra is
simply Madhava’s work on kala, and Madhava is well
known to have flourished in the latter half of the 14th
century, and cannot be commented upon by Rama-candra.
There are many other works entitled Kala-nirnaya, for
instance, the Kala-nirnaya by Jimtita-vahana, in Bengal,
who flourished in the 12th century.
PREFACE.
Cl
(()) The date of Rama-candra Bhattacarya, has been
accepted by scholars, as the middle of the 15th century,
from a statement in Sir R. G. Bhandarkar’s report on the
search of Sanskiit MSS. in the Bombay Presidency, in the
year 1883-84. He says in page 60 of that report, ‘‘There
is a manuscript of the Prakriya-kaumudi in the collection
belonging to the old Sanskrit College of Poona (No. 324)
which also bears a double dale, viz.^ 1583 Sam vat and 1448
Saka or 1527 A.D. Bui the lines in which the date is
given run thus : — “ Oti Tuesday the 13th of the light half of
the month of Bhadra-pada, the current year being Samvat
1583 and Saka 1448, (this) was transcribed at Nandi-giri
by Rama-(*andracarya-sfita-suta-suta. Between tlie su
and the ta of the second suta we have some letter, but
there is a mark indicative of erasure on it, and the usual
up])er horizontal stroke is wanting which shows that the
letter is not to be read. Thus then that manuscript was
transcribed in 1527 A.D. by the son of the son of the son
of Rama-candracarya, /.c., by his great-grandson. The
Rclma-candracarya spoken of, must be author of the Pra-
kriya-kaumudi, for if he had been another person different
from the author, some distinguishing particulars would
have been given about him. Besides, the Nandi-giri where
the manuscript was copied, is the same as Nander situated
on the Godavari, in the territory" of the Nizam ; and the
country surrounding it corresponds to the Andhra-desa in
which, as we are told in the Prasastis, the family lived.
If, therefore, a great grandson of Rama-candracarya lived
in 1527 A.D. Rama-candracarya himself must have lived
about 1450 A.D.” (Appendix III, UU.) This makes four
generations live within 77 years !!!
At the end of the extract UU, Sir R. G. Writes : —
“No. 324 of Visrama-baga Collection, Prakriya-
kaumudi.
Cll
PREFACE.
^^?rs5ft sjf^fjf^ ^^TJT’^5^T=nT^ %fjl II “ 35 ^
^^<1 II ” II
Sir R. G. does not copy the scribe’s description pro-
perly. He slionld have written it as he has described in his
report page bO. Suta, Sn....ta Silta or he should have
given a facsimile of the writing. I am disposed to think
that it is Sfita. . . . Siita Siita, /*.( ., a descendant of the aut hor
and not exactly his great-grandson.
I have, however, got in my copy of this report of
Sir R. (b facing page 60 a paper in which M. M. Pandit
Vindhesvari-prasada, librarian of the Benares Sanskrit Col-
lege Library, gives tiie information that a MS. of P. K.
was written in 1420 A.D.
K. P. Trivedi says, in page xxx of his introduction
to the edition of the Prakriya-kaumudi “The earliest MS.
of Prakriya-kaumudi in the (iovcrnment Sanskrit College,
Calcutta, is dated Sainvat 1493, equal to 1436 A.D.”
Tn the Calcutta Sanskrit Association, option has been
given for Prakriya-kaumudi-vyakarana and the work is
taught in Orissa. The ( ‘aiigu-sutra too, has been tacked
to the Prakriya-kaumudi and it seems to have some circu-
lation yet.
There are two commentaries which are prominent
on this system of grammar. One is Prasada by Vitthala,
PREFACE.
ciii
the grandson of Rania-candra, and the other by Krsna
of the Se.sa family who flourislied in the 16th century
and had some influence in the court of Akbar. Vira-vala
and Todara-malla seems to have patronised him. He was
not only a grammarian but a poet and a dramatist too.
His drama Kamsa-badha was enacted before Giri-dliari son
of Todara-malla, and his Prakriya-prakasa was written at
the request of Viravala for the education of his son Kaly-
ana (I.O. Catal. 622-21-).
Vitthala in his Prasada gives the following genea-
logy of his family for several generations: —
Avimukta of the Kaundinya gotra
i
Anantacarya
!
Nr-siinha
Gopalacarya Ivrsnacarya
Ni-sinha Rama-candra
(author of Prakriv<t-kaumudi)
I
Nr-simha
' I
Vitthala.
Thus from Vitthala we know six generations of his ances-
tors. Each one of his ancestors was a profoundly learned
man, and they were educated under famous gurus of their
generation. They were Vaisnavas, but as Brahmanas they
learned the Vedas also. They were astronomers and smar-
tas They were proficient in different systems of Hindu
philosophy, specially the Pahea-ratra system. Rama-
Candra’s father Krsnacarya expounded Sutra-vrtti in the
CIV
PREFACE.
court of Rama. K. P. Trivedi gives an exhaustive account
of the seven generations of panditas in his introduction.
But that account is to be found in Sanskrit in the pro-
logues and epilogues of Rama-candra’s and Vitthala’s
works.
Besides Vitthala and Krsna, there is another com-
mentary also on the Prakriya-kaumudi, Tattva-candra
by Jayanta, son of Madhu-sudana, a native of Prakasa-
puri on tlie Taptl. He seems to have followed Krsna-
pandita and written his commentary in the 17th century
(LO. Cat. No. 625).
Two other commentaries are mentioned by Burnell,
one by Varana-vanesa Sastn called AmHa-smrti and the
other by Visva-karma Sastri son of Damodara called Sat-
prakiiya-vyakrti.
The last and the most important recast of Panini
is the Siddhanta-kaumudi by Bhattoji-diksita. This work
has the widest currency of Sanskrit grammars. The exact
date of its composition is not known ; but the commentator
on Baraiiasl-darpana, a poem on Benares in eleven cantos
(L. 765) tells us, that he obtained purity of speech from
Bhattoji-diksita and his son whose name as a Sannyasi
was Ramasarma. A pupil of Bhattoji wrote a work on
Siddhanta-kaumudi in 1636. Bhattojiks work was there-
fore written in the later years of the 16th century.
Narayana-bhatta was born in March 1514; [Indian
AnUipiary, January 1912 p. 7-13) he obtained the title of
Jagad-guru in 1572 A.D. from Akbar. At Benares he was
the head of the panditas of the place. After his death his
second son Sahkara-bhatta became the head. Bhattoji-
Diksita was a pupil of this Sahkara-bhatta. He was also
PREFACE.
CV
a pupil of Se.?a-krsna, whose drama the Kahsa-vadha was
enacted before C4iri-dhari, son of Todara-malla. Sesa-krsna
wrote the Prakriya-prakasa at the request of Raja Vira-vala
for the education of his son Kalyana. (See the preamble of
Prakriya-prakasa, verse 35) Vlra-vala died in 1586 A.D.
The request for writing Prakriya-prakasa must have been
made when Kalyaiia was very young. So I put it down
in the sixties of the ceiitiiry. Bhattoji must have read with
Sesa-lvisna wlien tlie Prakriya-prakasa was in tlie making.
Perhaps he and Kalyana read together. After hnisliing his
ediuaition witli J^esa-krsna Bhattoji b(‘came a pupil of Sah-
kara-bliatta, for Ko^^a and Vyakarana are juvenile studies,
Smrti and Mimrmsa eoine later. Bhattoji linished his
education, say about 1580. Then he wrote his Siddhanta-
kaumudi and its eonunentarv the Praiidlia-inanorama.
Varada-raja who was a ])U|)il of Bhattoji, made the
abstracts of tlie S. kaunmdi in the nineties and tlie Madhya-
nianorama was written l>y Rama-sarma about that time.
Bhattoji, after writing tlu^ grammars, busied himself in
writing Smrti works, many of Avhieh hold their ground still
So Bhattoji lived many years after writing his grammars.
There will be no difficulty of Rama-sarma in dedicating his
Madhya-manorama to Vidyil-nivasa, whom we find getting
a part of the Krtya-kalpa-taru copied by Kavi-candra, a
Kayastha, in 1588 (I.O. Catal, 1385) “
¥IT% I ”
Bhattoji's son Bhanuji Diksita after finishing his erudite
commentary on the Amara-kosa renounced the world and
became Ramasarma. The exact date of this renunciation is
not known.
There is a w^ork entitled Varanasi-darpaiia. The book
has not yet been found. But commentary, by the author
PREFACE.
cvi
himself, was written on it, and there the date of the
original is given as Samvat 1698, equal to 1641 A.D., [vide
L. 765) and the commentator salutes Bhattoji Diksita and
Rajuasarma as his gurus. So the commentary on Amara-
kosa and the renunciation must have taken place before
that date.
Bhattoji was early educated under two of the most
^ prominent men of tlie 16th century ;
one was Sankara-bhatta, the son of
Narriyana-bhatta, on vhom Akbar conferred the title of
Jagad-guru. Sahkara-bhatta in a historical work entitled
Gadhi-vainsanu-carita, speaks of Bhattoji Diksita as one of
his pupils. Perha])s, Bhattoji learnt from him Mimaipsa and
Smrti, in which Bhattoji wrote several works which are still
current. His other guru was Sesa-krsna, the (commentator
of Prakriya-kaumudi. Sesa«krsna was a very proud man ;
proud of his learning and proud of his position in society.
He most probably lived at Dcdhi. Of the two great com-
mentators of Prakriya, Vittjiala was mild, modest and very
respectful, v liile Sesa-krsna was the very reverse of it. Sesa-
kisna's eomnuaitary, the Prakriya-prakasa, had a wide
curremey as he was patronised b}^ Vira-vala and Toclara-
malla, two prominent Hindu ministers of Akbar. But
Bhattoji was not very respectful to his guru and specially
to Sesa-krsna whom he severely criticises and whose work
he eventually ousted from currency in Northern India.
The whole of t he 17th century was rather an exciting
time among the grammarians. Sesa-krsna and his family
and followers abused Bhattoji Diksita and Bhattoji Dik^ita’s
family and followers retorted. About the middle of the
century Pandita-raja Jagan-iiatha, the Sanskrit teacher of
Dera ShikCih, abused Bhattoji RS an ungrateful pupil who
after receiving a complete^ knowdedge of grammar from
PREFACE. CVii
Sesa-krsna, refuted liim not in very respectful terms, in his
Manorarna. Jagan-natha who received liis knowledge of
grammar from Sesa-krsna’s son wrote a defence of his
guru’s family in a work which he abusively terms Mano-
rama-kuca-mardana, in which he severely criticises Mano-
raiiia, Bhattoji’s own commentary, on his Siddhanta-
kaumudi. Jagan-natha was also a resident of Delhi and
after the beheading of Dara, retired to Jaya-pura and there
wrote not only on Jyotisa, but on many other subjects.
The Benares panditas however, triumphed and their w^orks
are now' the best knowm w^orks in Sanskrit grammar, w hile
the Delhi panditas shared the fate of the Mughal Empire.
Bhattoji Diksita w^as not so liberal as BRina-candra.
He would not tolerate any opinion expounded or any new
facts of the language noted bv the Buddhist co.mmentators
of Panini. He dis(*arded them all as a-Panineya, not
sanctioned by Panini, and as Bhasya-viruddha, or as con-
tradicting the opinions of Patahjali. Rama-candra left,
out many difficult sutras of Panini but Bhattoji left out
none, Bhattoji accepted the arrangement of Vopa-deva
and he marshalled Panini's sutras strictly according to that
arrangement, while Rama-candra had to make his owui
arrangement as he came before Vopa-deva,
As I have said before, Bhattoji wrote a commentary on
the Maha-bhasya entitled Sabda-kaustubha, so he had a
deeper insight into the Great Commentary” than men
living in his time. He always supported the orthodox
view of Patanjali, Bharttr-hari and Kaiyata and had scant
courtesy for Jayaditya, Vamana, Jinendra-buddhi, Hara-
datta and others.
Siddhanta-kaumudi means a collection of decisions by
the best grammarians while Prakriya-kaumudi meant the
CVlll
PREFACE.
process of leaTning grammar. The difference of the object
of the two authors is apparent from the names of the works.
Bhattoji’s work was meant to be a standard work for edu-
cational purposes. He had tlierefore to write two com-
mentaries on that work for scholarly purposes of different
degrees, one is called Bala-manorama and the other
Praudha-rnanorama. But all efforts of Bliattoji would have
been futile, had he not written a commentary ontheMaha-
bhasya followed by a short work on the philosophy of
grammar, and luid he not been followed by a galaxy of
great authors su2)j)orting him in all that he did. Tlu‘ first
great man was his own nephew who wrote a commentary
on his 71 Karikas on philosophy of grammar and expounded
the principles in a great work entitled Vaiyaka]*ana-bhu-
sana. His grandson Hari Diksita wrote the Sabda-ratna, a
commentary on Bhattoji Diksita’s Praudha-manorama.
The greatest supi^orter of Bhattoji T)iksita, however,
was Nagoji Bhat la, a pupil of Hari Diksita, who commented
upon all liis storks and the works of liis school. He had a
long life and lived more than 100 years and died in 1775,
on the day when Warren Hast ing’s life was in jeopardy on
account of the Benares revolt.
I have already spoken of the commentaries on Rabda-
kaustubha by Bhattoji as a commentary on the Maha
bhasya and of the sub-commentaries by Nagoji and his
pupils on the Riddhanta-kaumudi. Nagoji wrote the
Sabdendu-sekhara, in t-wo recensions, the Vrhat and the
Laghu. They are full of information, but they are written
in the style of modern Naiyayikas which is rather difficult
of comprehension. The Pari-bhasas used by Bhattoji were
explained, or as they say, cleared by Nagoji, in his Pari-
bha^endu-^ekhara. Nagoji’s books were in their turn ex-
PEEFACE.
CIX
plained by Vaidya-natha Paya-gunde, his chief disciple,
belonging to the Mahratta Colony at Benares.
Commentaries on Sul-
dhanta-kaiimudi.
Rajendra-lala in L.G.R. p. 121, gives
the following list of commentaries on
the S id d hant a-kaum lul i .
“The oldest commentary is the Prandha-manorama
by the author himself. Tlie second is Tati-va-bodhini of
diiiendra SarasvatL The tliird is Sabdendii-sekhara, with
its abridgement the Laghn-sabdendn-sekhara by Nagoji-
bhatta. Tlie fourth is Vaiyakarana-siddlianta-rat nakara by
Rama-krsna-V)hatta. The fifth is the Siibodliini by Java-
krsna-bhatta. Uie sixth is Sarala by Tara-natha Tarka-
vacaspati. Tliese conunentaries again are accompanied by
glosses on them, that is, the Sabda-ratna by Hari Diksita
on Manorama, second Ihe Laghu-sa.I)da“ratna an abridge-
ment of the last, third the Bhava-prakasika by Vaidya-
natha Payagiinde being aji exposition of Hari Diksita’s
commentary and fourth the Cidasthi-mala by the said
Vaidya-natha, being a commentary on the abridged gloss of
Nagesa.”
Rajendra-lala sa5^s that Rama-krsna-bhatta’s com-
mentary, the Siddhanta-ratnakara is written in such an
easy style that it deserves wider circulation tlian it has.
Jaya-krsna’s commentary does not cover the whole
field of Siddhanta-kaumudi but takes in only the Vaidika
grammar and Vaidika phonetics and along with them the
Prati-sakhya and the phit-sutras.
Bhattoji Diksita had a disciple named Varada-raja,
who made three abridgements of his
work, Madhya-siddhanta-kaumudi,
Laghu-siddhanta-kaumudi and Sara-
Abndgements of Sid-
dhanta-kaiimudr.
cx
PREFACE.
siddhanta-kaurnudi. The Madhya is of considerable extent
and is intended to impart not only an elementary but a fully
working knowledge of the language. The Laghu is intended
for beginners and the Sara is an absolutely elementary work
current at present at Mithila and Purnea. All these abridge-
ments retain the sutras of Panini, only fewer and fewer in
number, but arranged almost in the same order as in the
Siddhanta-kanmudi. The Laghu and Sara do not mind
much about tlu‘ Vaidika grammar and Vaidika phonetics
and all the tliree discard anything that is difficult and
minute. The commentary on tlie Siddhanta-kaumudi by
the author himself is called Manorama. The Madhya has
a commentary called Madhya-manorama. It is simply an
abridgement of the Praudha-inanorama as far as it relates
to the sutras of the Madhya. The commentary is by
Ramaoandra Sartna, who wrote it at the request of Siva-
nanda Bhafita or Sivananda Gosvami and it was dedicated
to Viflya-nivasa, the most prominent Paiidita of Bengal at
the time of Akbar, and who was perhaj)s the guru of the
author.
Another abridgeunent of the work is Sabda-sobha
(Leipzic (Altai. 760) by Nila-kantha-kavi, a direct disciple of
Bhattoji Diksita. The father of the kavi was Janardana
Sukla and the motlier, Hira. His Mother’s father was Vaca-
carya. The uork uas composed in Sam vat 1693, that is,
A.D. 163(). From this fact Belvalkar supposes that Bhattoji
lived at 1630 A.D. This sort of calculation, 1 believe, is
wrong. Bhattoji in order to write so many works in gram-
mar, Smrti and Mmianisa must have lived a long life, and he
was a student of Saiikara-bhatta and Sesa-krsna. Se^a-
kpsiia wrote his Prakriya-prakasa for the benefit of Kalyana,
the son of Vira-vala who died in 1586 and Sankara was
teaching, I believe, from 1570 or earlier. The work Sabda-
PREFACE.
CXI
sobha has been found at Dacca written by a Jaina yati
named Vadana-nisana-gani. The work is a very short one
but it gives a complete idea of what a Sanskrit grammar
should be.
The minor schools of grammar for the last five or six
luindred years are full of interest.
Minor sciioois of They show the direction in which the
grammar.
intellectual activities of the Indian
lib^rary classes wert^ directed. With the loss of ])olitical
power, Sanslvrit ceased to be the court language, and even
the language of the higher classes of the society. But tlie
Brahmins wanted to conserve Sanskrit language, literature
and culture. They had no time, no leisure and no inclination
for deeper study of Sanskrit as a language. They, therefore,
began to write short and easy works of grammar to give
the people a working knowledge of that language. The
Sarasvata-sutras, seven luindred in number, seem t o lx* the
earliest manifestat ion of this tendency. But the tendency
continued for cent uries and produced many schools of short
grammars. Of these grammars a number are mere sectarian
works. Vopa-deva in the 13th century in his Mugdha-bodha
gave a sectarian turn by taking all examples from the names
of Visnu and Siva whose identity he believed in. But he
was outdone in the 1 5th and 16th centuries, by the followers
of Caitanya. These not only took all exaiujiles from the
names of Hari but the numerous names of Hari afforded
them an opportunity of selecting even the technical terms
of grammar from these.
Caitanya founded a colony of learned men at Vinda-
vana. There in the seclusion of the forests they wrote a
largo number of works ; principally on bhakti or devotion
to Hari, and commentaries on the Bhagavata, their standard
CXll
PREFACE.
work. But they did not neglect other branches of know-
ledge. They wrote Vaisnava smrti, history of Vaisnavism
and Vaisnava literature, not only in Sanskrit but in the
vernaculars also.
One of the principal followers of Caitanya, Riipa
Oosvami, left the service of Allauddin Husain Shah of
Bengal and became a sannyasi and a Vaisnava. Among
other works he wrote a grammar entitled Hari-nama-
mrta. His dictum was that th(^ name of Hari taken
even in jest leads to heaven, so he thought of taking the
name of Hari through the means of grammar. His Hari-
namaini’ta is mentioned )>y Raja Rajendra-lala Mitra in his
L.(kR. and the Raja had great opportunities of knowing
works on Vaisnava literature. But the Hari-namamrta
vyakarana whic'h is current even up to the present day was
by Rupa’s nephew Jiva Gosvami written about the middle
of the ibih century. His nomenclature is derived from the
names of Hari, for he would not say hrasva but Vamana for
it, the Dwarf incaTnation of Hari; nor he would say dirgha
but Rurusottama; he substituted Tri-vikrama for pluta.
So in reading the grammar one (cinnot help uttering the
name of Hari at every step. The Vaisuavas studied gram-
mar but they showed their devotion to Hari even there.
The Vaisnavas are so fond of this work that they made the
Calcutta Sanskrit Association adopt the Hari-namamrta as
an optional subject in grammar for the examination of
V a i s na va c a ndidat es .
Raja R;ajendra-lala Mitra says that the Vaifjinavas of
Bengal had another grammar entitled Caitanyamrta, with
an anonymous commentary; and as I have said, the Raja
had great opportunities of knowing Vaisnava works (L.G.
R. p. 163).
PREFACE.
CXlll
Following the example of the Vaisnavas, the Saivas
made a grammar of tlieir own, preeisely with the same
object of taking tlm name of Siva while studying grammar.
It is Prabodha-prakasa by Vala-rama Paheanana who,
Rajendra-lala thinks, was a Bengali and a Bralunana : but
the time and place of composition is not known. The book
has some karikas and some sutras. The vowels are desig-
nat(vl Sivas, the (‘onsonants, Haras, the surds are Rudras,
sonants, Bhaga. The sandhis are divided into three sec-
tions, Sakti-sandhi-pada, Siva-sandhi-pada and Visarga-
sandhi-pada. It has Saktyanta-puni-lihga-pada ; Saktya-
nta-stri-lihga-pada ; Sivanta-pum-lihga-pada, Sivanta-
strilinga-pada. Colebrooke says this is an original work
not dependent on any ])articular system of grammar.
Many wealthy persons would not like that their
children should study old grammars and should spend
much time in their study. 8o they directed their panditas
tn write new grammars according to their direction. Thus
many short treatises on grammar Avere written through-
out India. During the reigns of Jehangir and Shah Jehan
there was a Chauhan Raja at Patna, whose name was
Vijjala or Vaijala, and he had four parganas as his jaigir.
Following the example of Vidya-pati and of Vi jj ala’s
ancestor Vikramaditya, he got one of his paiiditas Jaga-
mohan to write a Sanskrit gazetteer of Eastern India entitled
Desavali-vivrti. He had a son named Hira-dhara. For the
education of Hira-dhara in Sanskrit he wrote a short gram-
mar, entitled Prabodha-candrika, throughout in anustup
metre. His object was to preach the glory of Rama. It
has the following sections: — Vibhakti-candrika Tyadi®-;
Karaka®-, Samasa°-, Taddhita-o ; Sandhi®-.
Another such work is Bliava-simha-prakriya, an ele-
CXIV
PREFACE.
mentary grammar by Bhatta Vinayaka, son of Bhatta
, , Govinda-silri written for tbe educa-
Hhfiva-simha-prakiiya
tion of Bliava-simha, the eldest son
of Medini-rat. The object of the grammar seems to be
the glorification of Rama. It takes the Siva-sutras of
Panini and many of Panini’s sfitras with slight alteration.
Some of these grammars are declared to be elementary
])y th(‘ir names, such as, Druta-bodha, Asn-bodlia, Sud-
dhasii-bodha, Sighra-bodha and so on.
The Druta-bodha has a history. During the 17th
century, tliere liv('d, at Patil-pinla neai Jamgu, in the
district of Burdwan, a very learned jiuni of the Vaidya
caste named Bharata "^lallika. His position in his caste
was very high. Hii^ anec^stor was H'ari-hara Khan who
obtained tlie title of Khan from the Sultanas of Ben-
gal. His father was Gaurahga Mallik. They were all
])hysicians by caste and Bharata Mallika’s decendants
are to l)e found in Calcutta and its \ucinity. Bharata.
Mallika AA'as a staunch follower of Mugdha-bodha. He
Avrote commentaries on standard Kavvats called Mugdha-
bodhini. He Avrote a grammar entitled Druta-bodha. It
Avas to all intents and pur])oses an abridgement of Mugdha-
bodha. Hajendra-lala Mitra s])eaks of a commentary on it
by the author himself entitled Druta-bodhini (L.G.R., pp. 20
and 22). Not satisfied, even Avith this, he made even
a shorter abridgement, entitled Prasiddha-pada-bodha.
It is the shortest Sanskrit grammar that has yet come
to our notice. It Avas printed in the early part of the
19th century. As Mugdha-bodha Avas the grammar largely
studied on both sides of the Hooghly, Bharata Mallika
Avielded very great inllucnce, wherever that grammar was
studied. But in his Druta-bodha, Bharata Mallika did not
PREFACE.
CXV
scruple to take advantage of the neighbouring schools
of grammar, Katantra, Samksipta-sara and Supadma.
It was compiled under the patronage of Kalyanananda,
son of Gaja-malla and grandson of Trailokya-candra, a
local Zamindar, who claimed descent from the Solar race.
Another abstract of Mugdha-bodlia, was written by
Rama-Kihkara Saras vati. But it has
Asubodha.
outdone Mugdha-bodha in its mono-
syllabic nomenclature. Svara is named ca ; hrasva is In ;
dirgha is rii ; vowels ]>roceeding from the same organ of
speech are named sa : e, ai, o, an are collectively called ga ;
consonants from ka 1o ksa are vya ; the vargas are ba ;
and so on. It has siitras, it has karikils, and it has a vrtti
(1.0. Catal. 908).
The author is Ramesvara. Most likely it was com-
• j)osed in 1701 A.D. it is an elemen-
SuddhaBii-botiha Vyaka- aramiuar aiid docs not use much
complicated grammatical nomen-
clatnre (I.O. Catal. 909).
Sighra-bodha by Siva-prasada takes help botli from
Mugdha-bodha and Katantra. Its
Sighra-bodha.
object is quick comprehension of gram-
mar and a working knowledge of the language (I.O.
Catal. 910).
Jhanamrta, by Kasisvara son of Rama-narayana and
Bh avail! was composed in Saka 1660
Jhanamrta. r . a i-. t •
equal to 173S A,D, It is an ordinary
elementary work of no special merit (I.O. Catal. 905).
Pada-candrika is a metrical graniiiiar with a vrth.
Pada-candrika Tlic autlior is Krsiia, son' of Sesa-
(T.o. Catal. 903). nrsiiiilia-suri. His patron was Narot-
tama. The object of the work is easy comprehension of
CXVl
PREFACE.
young men of tender age. The author says that those who
study this work need not trouble themselves with the
sutras of Panini with the vrtti like Kasika, istis by Patah-
jali, vartika by Katyayana and compilations of the Panini
schools. Is he the same man who wrote the Prakriya-
prakasa ?
Prakriyarnava in aphorisnm and tlieir explanations by
Madana-pahcanana. The author takes
I raknyarnava. irom Mugdha-bodlia aiul Katau-
tm (LO. Catal. 904).
Rama-narayana Bhattacjlryya-cakraxartn son of
Krsna-rama has written an abridgement of the iSainksi])ta-
sara entitled Karikavali. The author has included ksa in
tile alphabet, but he lias not followed the arrangement
of subjects of that grammar. It is the arrangimient of
Mugdha-bodlia rather. He has separate chapters for cere-
bral .^a and cerebral na. He lias split up tlie conjugation
not according to the ganas but according to the changes
undergone by different members of the root, such as the
reduplication, expansion, etc. The author’s son Rama-
prasada writes a commentary on his father’s work (I.O.
(latal. 900-901).
During the early part of the 16th century, Yadavendra
Chaudhuri established a semi-independent Zamindari, at
Khana-kula about 50 miles to the west of Howrah. Taking
advantage of the wars between the Rajas of Orissa and the
Sultans of Gaud, he increased his influence and importance.
He induced Narayana Banerji to settle at Khana-kula by a
grant of land. Yadavendra had very nearly finished the
construction of an ornamental temple for Gopi-natha whom
he worshipped. But he could not consecrate the temple as
he was suddenly attacked by the Sultan’s army. But his
successor Vamsidhara, mi\naged somehow to keep his
PREFACE.
CXVll
Zamindari intact. He had a court in which Narayana was
the chief Pandita. Khana-kiila was made something like
a seat of learning. Narayana wrote many works on
Smrti and he wrote a work on grammar entitled Sara-vali.
It was to all intents and purposes an abridgement of the
Samksipta-sara even in the arrangement of its subjects.
Parijata-vyakarana, an easy Sanskrit grammar in
anii^tup metre, is by Rama-hari. Of
Parijiita-vyakarana. ‘ * ,
elementary grammars, it is one ot the
best. It has few nomenclature and no pratyahara. It
inclines rather to the Samksipta-sara.
Ratnavati is a metrical grammar for juvenile students,
in about 800 slokas, it goes over all the
Rafcnfivati. i •
topics of ordinary Sanskrit grammar.
Dipa-vyakarana is an elementary grammar with a few
short aphorisms. It has no samjha and
nipa-vyakarana. ,
no pari-bhasa. It goes over the same
ground as the Mugdha-bodha. The author is a Sannyasb
named Cidrupasrama, who styles himself a Parama-hamsa-
parivrajakacarya.
In L.G.R. page 132 there is a list of elementary gram-
mars of which the following have no description.
(1) Ulka.
(2) Laghu-bodha.
(3) Divya.
(4) Padavali.
(5) Caitanyamrta.
(6) A commentary to 5.
Sometimes Panditas tried to impart a working know-
ledge of Sanskrit by means of conversation, and they have
written works in conversational^ Sanskrit.
€xviii
PREFACE.
(1) Girvana-pada-manjari by Varada-raja Bha^ta.
The scene is laid at Benares. The conversation is between
a mendicant and a householder. They talk about their
daily work in Sanskrit.
I iTT^ fin nr^jT, vms,
^rrwi i
(2) Pradipa by Kasi>natha. The scene is led at Hari-
pala, District Hughli. Kasi-natha received his education
in Hindu law and rituals from Rama-candra Deva-sarma,
and in other subjects from Siddlmnta-vagisa. He had
commenced teaching and took the conversational method
of teaching grammar.
LEXICOGRAPHY.
Lexicographical works in Sanskrit may be divided into
three groups (1) synonymous (2) homo-
nymous (3) and dealing with genders.
But they often overlap each other and make it difficult to
distinguish one group from another.
Three groups.
Historically the lexicographical literature in Sanskrit
may be divided into three periods (1)
Three periods. Prc-Amara, (2) Amara with its modifi-
cations, commentaries, and appendices (3) Post-Amara.
Pre-Amara period.
Nighaiilu.
The oldest lexicography in Sanskrit is the Nighantu, it
is called Samamnaya, that is, it had to
be memorised by every Brahmin. It
is the outcome of the habit of ancient
Indian rsis of indexing. They indexed synonyms of
different things and animals and put them together ; thus
was the Nighantu formed. It is a dry string of words with
no subjects or predicates. It has not been given even the
attraction of a versified form, it is in dull prose. It is
divided into five chapters. The first three being arranged
in synonymous groups of nominal as well as verbal basis,
the fourth containing lists of inflected words whose meaning
are to be determined from the context and the fifth, lists
of different deities.”
Yaska’s Nirukta is said to be a commentary on the
Nighantu. It gives the meanings and
derivations of vedic words, and in the
<50urse of their explanation gives traditional, theological and
Yaska’s Nirukta.
cxx
PREFACE.
philological information of the highest value. It contains
12 chapters, divided into two groups, Purva-satka and
Uttara-satka. It has a parisista, too. Some divide it into
two chapters, otliers say tliat there is only one chapter.
Each chapter is divided into fixe to seven padas. The
number of khandas in the whole xvork is 480 and the
number of padas is 57.
Commentary ofNip;hantu
by Devaruju Yajva.
The Bibliotheca edition of the Nirukta in 4 volumes
contains the text of both the Nighantu
and the Nirukta. Nighaiitu has the
commentary of Deva-raja Yajva, son of
Yajnesvara, native of a suburb of Rahgesapuri in Daksina-
patha. As the author quotes from Blioja, K^ira-svami
and Uvata, he seems to belong to the 12th century. He
studied a large number of Veda-bhasyas current in
Southern India and a number of xvorks on Panini. He
seems to have supplied all that was xvanting in Yaska’s
Nh’ukta in explaining the Nighantu.
The Nirukta in that edition is accompanied with the
commentary of Hurgacarya. He
styles himself Bhagavat and says that
he lived in Jambfi-margasrama. He
seems to have come after Deva-raja Yajva.
DurgUctirya’s commentary
on Nirukta.
Yaska, the author of the Nirukta, seems to have
The age of Nirukta. prccefled Paiiini as his classification
of words is cnide and primitive into
4 parts of speecli, nama, akhyata, upa-sarga and nipata
while that of Panini is logical and refined, into subanta and
Tifianta. His idea of upa-sarga is very rudimentary. The
twenty particles pra, para, etc., have under different circum-
stances received different, names in Panini; when joined
PREFACE.
CXXl
with verbs they are upa-sargas, when joined with nouns
they are called gatis, while modifying the inflections of
words they are called karma-pravacaniyas. These refined
definitions are not to be found in the Nirukta (see my
Magadhan literature p. 30). In Vedic literature upa-sargas
arc often placed at a distance from verbs ; all this shows
that Panini is posterior to Yaska. How much posterior, it
is difficult to say, but two hundred years, I think, would
not be too much. Yaska does not mention Panini, does not
use his nomenclature and does not know of the rules of
interpretation of sutras ; while Panini derives the word
Yaska and rejects the theory of the Nirukta-karas tliat all
words can be derived from Sanskrit roots. In some cases
Yaska and Panini quote the same authorities, but many of
the authorities mentioned by Panini are not to be found in
^ aska.
Preclecessora of Amaru.
(1) Vara-ruci.
After NighanUi and the Nirukta, come the group of
lexicographers, Vyadi, Kat ya, and Vara-
ruci. Vara-ruci’s Lihga-vrtti is to be
found in our Catalogue No. 4629. The
work contains a number of sutras with their vrtti comment-
aries, the whole is attributed to Vara-ruci, but the sutras
seem to be older. The work was spoken by Vara-ruci in
answer to a question by one of his students on the subject
of genders, which forms, as I have said before, the third
phase of lexicography.
Jaya-simha’s work also treats of the genders of nouns,
but the author says it is written in the
Linga-v&rttika interest of young learners. It divides
Jaya*^8imha nouns into common nouns, and proper
<Catai. No, 4630). nouns. All adjectives follow the
gender of the nouns, with the exception
cxxii
PREFACE.
in a few^cases. Jaya-simha wrote this book for putting a
stop to irregularities and for the preservation of the
decided opinions of scholars.
The MS. of Lihga-varttika was copied in the reign of
Vira-sirnlia of Mithila in La-Sam 228. It was written on
fine paper and w ith excellent ink, sometimes with gold, by
Pasu-pati. Vira-simha’s date given here does not agree
with that given in Kirti-lata, La-Sam 253,
Nnma Lingam.
There is another book in our Catal. No. 4031, which
appears to be ancient because it refers
to Vara-ruei, Vyadi, and Bliaguri. It is
anonymous but tJ)e date of coj)ying is La-Saiu 372 equal to
about I486 A.l).
Ramavatara Sarma, in the introduction to his edition
Vyadi and others Kalpadru, says “It would appear
from the above that in the opinions
of Sarvananda (1159) and Ksira-svamin (llth century)
Vyadi, Vara-ruci, Bhaguri, and Dhanvantari among the
authors, and the Tri-kanda, the Utpalini, the Ratna-kosa
and the Mala among works, preceded Amara and his work.
Katya or Katya yana and Vacas-pati, too appear
to have preceded Amara”.
The same authoritj^ quoting a couplet from Hara-vali
says that Sabdarnava, Utpalini and Samsaravarta are res-
pectively the kosas by Vacas-pati, Vyadi, and Vikramaditya.
Vyadi’s kosa seems to have been arranged like the Amara-
ko^a in synonymous groups with a chapter on homonyms
(see his introduction to Kalpadru Kosa p. xi). The ko^a
seems to have been a part of Vyadi’s voluminous work, the
Sanigraha, in 100,000 versus of 32 syllables each. Vyadi
PREFACE.
CXXlll
seems to have been acquainted with Buddhist theology and
he often tries to give the meanings of words through
derivation.
Many ancient authorities consider Katya, Katyayana,
Sind Vara-ruci as synonymous. But
R. Sarma thinks that Katya and Vara-
ruci are different persons, one wrote a complete kosa and
the other only the Lihganusasana. The name of Katya’s
kosa seems to have been Nama-mala.
R. Rarma says
Bhagurl and Tri-kanda.
‘ According to Aufrecht, Bhaguri’s kosa
was most probably the Tri-kanda which
is often quoted” and he seems to
incline to accept this view. This Tri-kanda, of course, is not
Amara-kosa which also has tliree ka-ndas.
R. Sarma says '' That the Ratna-kosa was divided
according to Sarvananda, (page xiv)
Ratna-koaa. . , , . rj j i i
into sections after the genders, it
was synonymous, any word with a different gender from
the rest of the section having been distinguished cither by
a special word or definition”. But we have a MR. of
Ratna-ko§a, 4703 A, in which the name is preceded by
Vastu-vijhana. It is an enumeration of things of definite
numbers. It begins in the style of old siitra works Ratna-
ko§am vastu-vijhanam vyakhyasyamah ”. It has one
hundred sutras. But in the enumeration of countries and
of the dynasties ruling in India, there are many names
which do not appear to be very old.
Amara-mala, known only in quotations, apjiears to be
another ancient work, as Halayudha
Amaramaia. ceiitury sccms to quote
from it.
cxxiv
PREFACE.
Vacas-pati’s kosa is most probably Sabdarnava. It
gives as many synonyms together as
Vaf-aepatrs Kona, ® J J J &
possible and gives different spellings
or forms of the same word.
Dhanvantari
Dhanvantari seems to be another predecessor of Amara.
He wrote a medical Nighantu in 9
chapters. It gives also the medical
virtues of drugs and is the basis of all later medical
Nighantus.
Wilkins found an inscription at Bodh Gaya of Amara-
deva dated 581 A.D. But the inscrip-
Jts modifications. doubtful
whether the Amara-simha and the
Amara-deva are one and the same person. Amara’s work
is entitled Nama-lihganu-sasana. It has three kandas
divided into twenty-four vargas containing altogether 1503
verses unequally distributed. In the preamble it gives
the pari-bha^as of the dictionary. Each group of syno-
nyms is either preceded by ‘atha’ or followed by ‘tu’.
The homonymous portion is arranged after the final conso-
nants. Avyayas form a separate varga. The book ends
Avith certain general rules for determining genders, so it is a
complete kosa giving all the three phases, homonyms,
synonyms and genders. There arc altogether 1503 verses
in the work (Madras III, p. 1129).
Lassen says that it was translated into Chinese prior
to the 6th century A.D. The earliest quotations from this
work is to be found in Nyasa of Jinendra-vuddhi, which has
been placed by its editor between 725 and 750 A.D.
Amara seems to have cast all previous ko^as into shade
and they have gone out of currency.
PREFACE.
CXXV
In our present catalogue there are two works which
may be considered as supplements to the Amara-kosa, viz,,
Catal. Nos. 4653 and 4656, the first is Tri-kanda-sesa by
Puru§ottama-deva and the second Mukta-vali or Visva-
locana by Sri-dhara, the son of Muni-sena. Tri-kanda-sesa
has been several times printed. The author like Amara
was a Buddhist. Amara gives 17 names for Buddha and
five for Rakya-muni but Purusottama adds thirty-seven
more names for Buddha and three more names for
Rakya-muni. During the centuries between Amara and
Purusottama, Buddhism developed several Yanas, and
the words given currency to by these Yanas, have all been
given by Purusottama and not by Amara. At the end,
Purusottama says that words in constant use only are
recorded in this work. Obsolete and obsolescent words,
though found in Panini and others, have been neglected.
There is a MS. (No. 4654) of this work in our cata-
logue in which names in a string of synonyms are
separated by comas or slanting strokes. Groups of
synonyms are separated by two such strokes which
serve the same purpose as semi-colons, but unfortunately
the MS. is a mere fragment. The author of the
Visva-locana says, at the end of his long preamble,
that Amara has woven a silken cloth and the author is
setting pearls in that cloth. These pearls he has collected
from great poets of tlie intervening ages. The author
belongs to the Sena family. His father Muni-sena was profi-
cient in Nyaya-sastra. The author Sridhara seems to have
been a Buddhist, because in the eighth verse of the
preamble he says that he has placed himself unreservedly
at the feet of Buddha. His father seems to have renounc-
ed the world and made world participator of his wealth.
The words are arranged in alphabetical order of the begin-
ning and of ka, etc., at the end^
CXXVl
PREFACE.
Sa^mara mentioned in Vol. Ill, page 1218-19 of
Rangacari’s Catal. of Sans. MSS. in the Govt. Oriental
MSS. Library, Madras, is another supplement to the Amara-
ko^a. The name of the author does not appear there, but
it adds many words and gives supplementary rules for
genders of words.
Amara-khandanam by Sn'-harsa, most likely the author
of the Naisadha-carita, is a severe
Criticism of Amaru. ... r i * t
criticism ot the Amara-kosa. It criti-
cises the genders of words. A synonym of gold is Jambfi-
nada. Amara puts it down as neuter gender, but Sri-harsa
points out that it is used in masculine gender also. The
writer says that the exposure of Amara-siniha’s mistakes
will be made enjoyable in this work, though it is a very
short one of 11 leaves only (the same Catal. Vol. HI,
p. 1112).
Of the commentaries on Amara-ko§a, and there are
scores of them, four are most im-
Commontarios.
portant. Of these (1) Amara-kosod-
ghatanani by KsIra-svamJ was written in Kasmira in the
1 1th century ( ?). (2) Tika-sarvasva by Sarvananda Banerji
written in Western Bengal in the year 1159 A.D. (3) Pada-
candrika by Raya-mukuta at Gauda, in 1431 A.D., and
(4) Vakya-sudha by Bhanuji-diksita who after renoun-
cing the world obtained the name Rainasrama at Myhiri, in
Baghelkhand, about the beginning of the 17th century.
All the four are very learned works quoting from a
large number of authorities in support of Amara’s state-
ments. K§ira-svami was a Sabdika of the first water.
Besides the commentary on Amara, he has written learned
works on Sanskrit roots apd Sanskrit particles. His age
PREFACE.
cxxvii
was a matter of conjecture but R. Sarma has pointed out
that he has quoted from Bhoja, and so he comes at the end
of the 11th century, and he is quoted by Vardhamana in
his Gana-ratna-mahodadhi in 1140 A.D,
Sarvananda Banerji wrote his work in Western Bengal,
but the MSS. of his work have generally migrated to
Southern India and it has been published in the Trivendrum
Series. The only MS. of the work in the Asiatic Society’s
library is in Oriya character. It is reported that the
Dacca University has got a copy in Bengali character. If
so, it will help greatly in deciphering the numerous Bengali
words which the commentator has used to explain Sanskrit
words given in Amara. These Bengali words coming
through Tamil, Malayalam, Telegu and Oriya are hard to
decipher and Bengali scholars are at great difficulty, some
deciphering in one way and others in another. Sarvananda
quotes from about twenty Buddhist works in his comment-
ary. In the preamble he says that he has studied ten com-
mentaries on Amara-kosa and at the end he says that he
studied three systems of grammar, looked into all works
in poetry, listened with attention to wise teachers and
his commentary has been corrected word for word and
letter for letter by Sanatana.
Vrhas-pati, a descendant of the five Brahmanas brought
by Adisura to Bengal, belonged to Vatsya-gotra and the
family settled in the village of Mahinta and therefore called
Mahintapaniya. He was one of the prominent figures in
Bengal in the beginning of the 15th century. At that time
a dynasty of Bengali Kayasthas, wrested the Sultanate of
Bengal from the Muhammedans and reigned for forty years,
though the second Sultan of this dynasty married the heiress
of the old Ilias-shahis of Beniral and became a Muham-
CXXVlll
PREFACE.
medan. The Tomb containing the remains of Asman-toa
the heiress, of Yadn or Jalaluddin, and of his brother
Ahammad is one of the most prominent buildings to be
seen at Hajrat Pandiia, in the district of Malda. Though
converted to Muhammadanism, the Sultans of this dynasty
brought about a revival of Sanskrit and Bengali studies,
and Vrhas-pati Mahinta led this revival. He wrote com-
mentaries on standard works on kavya, a commentary on
the Amara-kosa entitled Pada-candrika and a Smrti work
entitled Smrti -ratna-hara. He was given the titles of Kavi-
cakra-varti, Eaja-paiidita, Acarya-varyya, Pandita-sarva-
bhauma, and Kavi-panclita-cuda-mani. While giving him
the title of Raya-mukiita, the king made him ride on an
elephant, bathe on it in a variety of ways according to the
sastras, gave him the title of Raya-niukuta, two umbrellas,
horses, a jewelled necklace brilliant with the rays of gems,
two bright ear-rings and ten urmikas set with many precious
stones covering the ten fingers of the hands.
His father was Govinda and his mother was Nila-
mukhai-devi ; his wife was Rama who was dead at the time
of writing the commentary. He had many sons two of
whom are named Visrama and Rama ; they were all poets
who defeated the victorious in controversy, they were
writers of many works in a variety of sastras and they
made great gifts such as ‘‘ Tula-purusa, Brahmaiida and
many others ”. The Sultan of Gauda gave him the title of
Paiidita-sarva-bhauma. In his commentary on Amara he
has embodied the substance of 16 previous commentaries.
He consulted many authorities of whom more than ten
were Buddhist.
Bhanuji Dik^ita’s commentary also consults a large
number of authorities but }ie, true to the traditions of his
PREFACE,
CXXIX
family, supports the orthodox Brahmanic views of Panini’s
interpretations as against the Buddhist.
Another commentary to the Amara-kosa is Manorama
(Catal. No. 4661), the MS. itself is dated Saka 1540 and it
contains the horoscope of two of the sons of the owner
dated Saka 1651 and 1562. Abhidliana-bodhani is a com-
mentary on Amara-kosa by Laksmi-dhara, Catal. 4662.
Piyusa, another connnentary by Rama-knsna Diksita,
son of Govardhana Diksita, is composed in Sanivat 1694
and based principally on Raya-mukutas commentary
(Catal. No. 4168).
Padartha-kaumudi is by Narayana Cakravarti (?) later
than Raya-mukuta whom he quotes, consults about 64
previous A\orks (Catal. No. 4669). It was composed in
Saka 1570.
Pada-mahjari is another commentary on Amara-kosa
by Loka-natha Sarnia who appears from his mangalacarana
to belong to the Caitanya sect. He may be the same Loka-
natha Cakravarti who commented on the Ramayana and
other works.
Mugdhabodhini is by Bharata Mallika (Catal. No.
4673), who is generally regarded as belonging to the
beginning of the 18th century, but who as Mr. R. Sarma
points out, is quoted by Durga-dasa-vidya-vagisa in his
commentary on the Kavi-kalpa-druma in 1639 A.D. The
commentator follows the Mugdha-bodha Vyakarana.
Lifigadi-saingraha-tippani or Tri-kanda-rahasya-pra-
kasa or Tri-kanda-viveka is by Rama-natha-vidya-vacas-
cxxx
PREFACE.
pati (4677). In the beginning the commentator mentions a
large number of authorities from whom he quotes.
Ratna-mala is by Ratnesvara Cakravarti (4681).
Amarodyota by Purusottama Tarkalamkara quotes
from 29 works (4682).
Pahcayatani-vyakhya (4687). It is called Pahcayatani
because it gives five different interpretations to the
mangalacarana of Amara-kosa.
Sabdartha-sandfpika is by Narayana Nyaya-pancanana
(I.O. 964). He boasts that he is the Pandita for Amara-kosa.
Bhatti, and Samksipta-sara.
Sara-sundari is by Mathuresa vidyalarnkara-bhatta?
son of Siva-rama Cakravarti. The commentator says that
Raya-mukuta wrote his commentary according to Kalapa
so he is writing it according to the Supadma Vyakarana
(1.0. 968-70).
In the assembly of the Brahmanas of Radha held at
Ayeda near Kalna, Sarvananda Banerji of Napadi became
the head of an endogamous group of Brahmanas named
Sarvanandi-mela. His son was MMhava. Madhava’s son
was Kasi-natha. Kasi-natha’s son was Candra Banerji;
his son was Siva-rama. Siva-rama’s son was Mathuresa
Vidyalainkara who wrote this commentary in Saka 1588,
equal to A.D. 1666. So there were six generations between
1482 and 1666. He does not seem to be the same Mathu-
resa who wrote Sabda-ratnavali under the patronage of
Masananda EUi Khan.
PREFACE.
cxxxi
Lak^mana Sastri, son of Visvesvara Sastri and Bhavani
who lived at Kasi, wrote a short commentary on Amara-
ko^a for the benefit of tlie people of Karnata (I.O. 972).
Nayanananda Sarma writes the Amara-ko§a-kaumudi
in which he gives the same passage from Raya-miikuta’s
Pada-candrika, — without any indication
of its being taken tlierefrom (I.O. 982).
Samanta-sara is a place in the district of Faridpur
inhabited chiefly by Vaidika Brahmanas. A resident of
the place named Raglni-natha (^akravartl wrote at tlie
instance of Krs^na-vallabha a commentary on the Amara-
kosa entitled Tri-kanda-cintamani (I.O. 984). Raghii-
natha lias quoted from various kosas and tried to show
that they mean the same thing.
Rama Tarka-vagisa’s commentary on the Amara-kosa
is given in I.O. 985. It is suited to the capacity of young
men of tender age. R. Sarma says, in his Introduction,
page xxi, that this commentator follows the Kalapa system
of grammar and so he is not the same Rama Tarka-vagisa
who wrote a commentary on Mugdha-bodha.
Sesa-giri Sastri, in his report for the year 1893-94, says
under No. 12 that Lihga-battlya is the latest of the
commentaries on the Amara-kosa and is most copious and
useful. From the third kanda of the commentary only
the Sastri gives the number of authorities quoted as 171. In
Sarvananda (1159), Raya-mukuta (1431), and in Lihga‘
bhattiya the number of Buddhist authorities becomes
beautifully less and less.
R. Sarma, in p. xxi of his Introduction, says that
Tri-kanda-cintamani of Raghu-natha Cakravartin and
CXXXll
PREFACE.
Amara-viveka by Mahesvara are the two latest com-
mentaries.
The lexicographical works after Amara may be divided
into two great periods (1) from Amara
to Medini (2) from Medini to the pre-
sent day.
Kosas after Amara.
Aiiekartha-samuccaya by Sasvata is a homonymous
lexicon in 800 verses divided into six
nafivata.
sections. The fifth and sixth are de-
voted to indeclinables. The writer says at the eud of
his work that learned men like Khudula, the courtier of
Vidya-vilasa looked carefully through his work which was
done in consultation with the poet Maha-vala and Varaha,
as his treatment of synonyms is fuller ho seems to have
come after Amara. Ksira-svann quotes him.
Abhidhana-ratna-mala by Bhatta Halayudha follows
„ the Arnara-kosa. It has four kandas
Halayudha ‘ ' *
Svarga, Bhumi, Patala and Samanya,
and a fifth dealing with homonyms and indeclinables.
Halajmdha belongs to the middle of the 10th century. He
wrote a commentary on Pingala at the court of Munja
of Dhara. He wrote the Kavi-rahasya, a work on Sanskrit
roots in honour of King Krsna-raja III of the Rastra-ktita
family. All his three works are still regarded as authorita-
tive.
Yadava-prakaHa.
Yadava-prakasa was the preceptor of Ramanuja. He
was a very learned man. But in his
old age he became a disciple of his dis-
ciple, gave up the Advaita-vada of Sankara and became a
Vai^nava of the Ramanuja school. He seems to have
PREFACE.
CXXXlll
flourished in the middle of the 11th century near Kahcl-
pura. His dictionary named the Vaijayanti is still regard-
ed as an authoritative work. The synonymous section
of his work is divided into five kandas, Svarga, Antariksa,
Bhiimi, Patala, and Samanya, and the homonymous section
into three
(1) words of two-syllables,
(2) words of three-syllables, and
(3) words of many syllables.
Each kaiida is divided into many adhyayas. It arranges
words in the homonymous section in alphabetical order
of the initial letters.
Visva-prakasa is a homonymous work arranged accord-
ing to the final consonants, words end-
V iRva-pnikaHH. ^
ing in certain consonants arc sub-divid-
ed according to the nu mber of syllables they consist of. Thus
we have titles of chapters, Kaikakam, Ka-dvikam, Ka-
trikani, etc.
The work was written in 1111 A.D. The author was a
Buddhist because his mangalacarana though it does not
mention Buddha is fully Buddhistic. His father renounced
the world and made all sentient beings participators of
his wealth. This is done only by Buddhists and not by
Brahminists. One of his ancestors was Hari-candra, a com-
mentator of Caraka, who was the chief physician of King
Sahasahka, another of his ancestors was the chief physician
of the king of Kano j a. He gives a long description of
his ancestors but the description seems to be a bit confused.
Modern writers have placed various interpretations on it.
The author wrote a poem entitled Sahasanka-carita. The
family was distinguished for their medical skill and their
lefl.rninor
CXXXIV
PREFACE.
The author seems to have belonged to Eastern India
where va and ba are similarly pronounced and where little
distinction is made in the pronunciation of the three
sibilants sa, .sa and sa. This is not the case in middle
India and in other parts of India. The author has a sup-
plement to his Visva-prakasa named Rabda-bheda-prakasa
which among others have two sections Vakara-bhcda and
Usma-bheda. Mahesvara admits the compound letter ksa
in the Sanskrit alphabet. This is rarely done by brahmins.
The dictionary has a commentary called Visva-nighantu by
Paramesvara Bhatta, but MSS. of the commentary come
from Southern India.
Anekartha-kortft or
Maiikha-kosa.
Mahkha, a resident of Kasmira, wrote a homonymous
dictionary entitled Anekartha-kosa.
Like Visva-prakasa, it is arranged in
the alphabetical order of the final con-
sonants, each consonant having several sections accord-
ing to the number of syllables in the word. Mankha also
takes ksa as a part of Sanskrit al])liabet. A commentary on
Mankha is still extant. It may be either by himself or
by one of his immediate pupils. It has been quoted by
Mahendra Suri, the commentator of Hema-candra. The
lexicographer is said to be the same person who wrote the
Sri-kantha-carita published in the Kavya-mala Series. It
was written during the reign of King Jaya-simha of Kasmira
1128-1149, (our Catalogue No. 4710).
Anekartha-dhvani-manjari by Maha-ksapanaka of
Kasmira. It is divided into four
An(5kartha-dhvaiii*mnrj- rn i - n ♦! - ah -i i •
. . , - 1 1 parts. Slokadhikara, Ardha-slokadhi-
jjan by Maha-ksapanaka ^
of Kasmira. kilra, Padadhikara, Ekaksara-pada.
Rajendralala Mitra speaks of another
chapter called Sabdadhikara. There are several works of
PREFACE.
cxxxv
this name, some are anonymous. That by Gada-simha
has been given later.
Nanartharnava-samksepa is by Kesava-svami, an
officer of Rajaraja, the son of Kulol-
by ko«av« svsm,. Rajcndra Cola established
many Agra-haras or bralimana settle-
ments for the residence of learned men with the super-
human power of rsis. One of these Agra-haras was
dedicated to the Maliesvaras or worshippers of Riva. It
was regarded as the crest jewel of the prosperous empire,
it was named after Rajendra C-ola. In that Agra-hara
lived Kesava-s\ ami, a professor of Sama-veda and be-
longing to the Vatsya-gotra and he was an employee of
tile king. One day the king ordered Kesava-svami to
write a book in which the gender of words can be easily
ascertained. It should he divided into six kandas with
words of one, two, three, four, five, and six vowels each
and each kanda should be divided into five chapters,
treating of feminine, masculine, and neuter genders, as
well as, genders of adjectives, qualifying nouns, and of
nouns of many genders. The words should be arranged
according to initial letters. So Kesava-svami wrote this
enormous dictionary consisting of nearly 5,800 verses. The
work is written in the same plan as the Vaijayanti of
Yadava-prakasa. He quotes from about thirty authorities
and treats of the Vedic words also.
It is difficult to ascertain the date of Kesava, though
he was an officer of Raja-raja, the son of Kulottunga,
because there are two Raja-rajas, both sons of Kulottuiiga,
one in the I2th and the other in the 13th century. So
MM. Gai.ia-pati Sastri left the matter open by saying that
Kesava might belong to either of these reigns. But the
last Raja-raja was defeated anddmprisoned by the Pallavas
C XXXVl
PREFACE.
while the first Raja-raja was a conqueror and was an enemy
of the Vaisnavas belonging to Ramanuja sect. He revoked
certain grants to the Mahesvaras because they showed a
leaning towards Vaisnavism. 1, therefore, place Kesava-
svami in the reign of Raja-raja 1 about 1160 A.D. (p. 84.
of the annual report of South Indian Epigraphy for the
year ending 31st March, 1925).
Two most prominent men in the department of lexico-
graphy of this sub-period are undoubtedly Purusottama-
deva, a Buddhist, and Hema-(*andra, a Svetambara Jaina.
Purusottama has been mentioned as the author of the
Bhasa-vrtti in the grammar section of this preface, and
his Tri-kaiuja-sesa has been mentioned in connection with
the supplements of the Amara-kosa. He wrote another
lexicon named Haravali, treating of uncommon words in
278 verses divided into two groups, one synonymous and
the other homonymous. The synonymous group extend
over a full verse, a half verse, and a quarter verse. The
other group in three sections, half verse, quarter verse, and
a single word. Purusottama seems to have taken very
great care in writing this small work of obsolescent words.
In one place he says he had to remain a guest of Dhrti-
simha for twelve months, and in another, he says that
Janamejaya and Dhrti-simha, both helped him in writing
this work and all experienced poets know how much
trouble has been taken for this ko^a. It took him twelve
years to write this rather very useful work. He says
in verse 273, that the Ko.^a Sabdarnava is by Vacas-pati,
UtpalinI by Vyadi, and Samsaravarta by Vikramaditya.
He has taken the substance of these and other works in
preparing the Haravali. In this work the author salutes
Maha-deva in the opening verse and names Buddha no-
where.
PREFACE.
cxxxvii
Resa-giri Stistri has pointed out in page 41 of his report
for 1893-94 that when writing Tri-kanda-sesa, Purusottama
had not the title of Mahaniahopadhyaya. That title was
conferred on him before the Haravali was written.
The other great writer of this period is Hema-candra.
T have given an account of him in the
Hema-candi’Q.
grammar section of this preface. In
lexicon, he has written four works.
(1) Abhidliana-cintamani which has been printed in
Yaso-vijaya-jaina-grantha-mala, and a description of the
book and of its commentaries has been given by R. Rarma
in his Introduction, page xxxviii.
(2) Anerkartlia-samgralia, edited at Vienna, consisting
of 1829 slokas divided into six kandas after the number of
syllables, to which is added a supplementary kanda on the
avyayas. In each kanda the words are arranged in two-
fold alphabetical order. First after the final consonants,
second after the initial letters, so that it becomes almost
as easy to find out a word here as in a modern dictionary.
The genders are not noted. They are to be learnt from
the author’s Lihganusasana. To this work there is a
commentary by Hema-candra’s pupil Mahendra Suri who
out of respect for his guru, ascribes it to him.
(3) The third work is Nighantu-se^a, which is a Botani-
cal supplement to his Abhidliana-cintamani — “ It consists
of 396 slokas divided into six kandas, vrkga, gulma, lata,
saka, trna, and dhanya” — Introduction, R. Sarma. L.
(4) The fourth is Desi-nama-mala, a Prakrta dictionary
in which the author has utilised the Paiyalacci, a Pali
cxxxviii
PREFACE,
dictionary. Hema-candra’s work deals with only Desi
words as opposed to Sanskrit words and its derivatives
(tad-bhava, and tat-sama). It is divided into 8 chapters
called vargas and the words are arranged after the initial
letters and the number of syllables. Homonyms are placed
just after words of one meaning beginning with the same
letter and there is a commentary by the author himself.
Medini’s lexicography is called Nanartha-sabda-kosa.
Its date was hitherto considered to be
ModmT-kosa. . i i a
between v isva-prakasa in 1111 A. I),
which he quotes and Raya-mukuta wlio quotes him. But
Mr. R, iSarma has pointed out that Malli-natha and Padma-
nabha also quote from Medini and they both belong to the
last half of the 14th century. Medini’s authorities are
almost the same with those of Sarvananda (1159 A. I).). His
date therefore should be somewhere between 1159 and 1350,
and if the quotation from Medini in the commentary of
Mahklia’s kosa is genuine Medini must have flourished
in the earlier half of this period.
Medini Kara describes himself as the son of Prana Kara
who was the ruler of the Northern provinces of the Udisya
kings of the Gahga dynasty. The capital of his province
was an inland town. Medini Kara removed it to a place on
the Kiisai where he founded a city after his owm name ;
that city is still an important town in Bengal and is called
Medini-pura. (I.B. and O.R.S. Gazetteer literature of
Bengal, Vol. IV, 1918, p. 16.).
There are two estimates of the worth of Medini-ko^a.
Aufrecht says ‘‘ The Visva-prakasa is quoted, pilfered, and
abused by Medini Kara”, while Sej^a-giri Sastri speaks of
Visva-prakasa in desparaging terms and extols Medini-
PREFACE.
CXXXIX
kosa. He says, “ It is very copious, containing all words
according to their final letters as Kanta, Khanta, etc., and
each of these groups is arranged according to the number of
syllables, as monosyllables, dissyllables, trisyllables, etc.,
and again according to the order of initial letters. Of all
the works of the kind I have seen, this is the best. The
author gives a list of lexicographers and other authors
whom he has consulted and very rightly condemns the
Visva-prakasa of Mahesvara which lie includes in the list
as a work of many defects in the following passage : — “Api-
vahu-dosam Visva-prakasa- kosam ca suvicarya” pp. 42-43
of his report for 1893-94. Again in page 47, ‘‘ whatever may
bo the boast of the author about the merit of the lexicon
(V^isva-prakasa) the work has one defect, namely, that the
genders of the words whose meanings are given are not
mentioned and the words are not pro])erly arranged. These
are the defects wliich were carefully avoided in the Medini-
kosa, and the author of that work very fitly condemns
Visva-prakasa.”
During this sub-period, there were written a number of
lexicographies by various authors who are known only
from quotations in Sarvananda, Hema-candra, Mahesvara,
Medini, Halayudha, and other writers of the 12th and 13th
centuries A.D. R. Rarma gives the names of thirteen of
these works of which there are MSS. of three only. The
others are mere names still, but they are historical names as
quotations from them occur in authentic works. (No. 8
para 12 of his Introduction.)
Of the three works of which MSS. exist, Nanartha-
samgraha by Ajaya-pala is a homonymous vocabulary,
which begins with a salutation to Buddha, contains 1730
words based generally on the ^Rasvata-kosa. The avyayas
cxl
PREFACE.
are not collected at the end of the whole book as in other
kosas but placed at the end of each chapter. The second
is Nama-mala of Dhanahjaya, a lexicon of synonymous
terms. The author seems to be a Digambara Jaina. He
refers to Akalaiika and Pujya-pada, both Digambara
Jainas. He says he has written only two hundred slokas.
Dhanahjaya’s Nama-mala seems to be very popular in the
Karnata country as there are commentaries on it in Kaiia-
rese. This is given in pp. 1612-1615 of tlie Madras
Catalogue, Vol. 111. But in No. 1616, there is another work
attributed to the same author. The work is entitled
Nighantu-sarnaya in two paricchedas. The first pariccheda
is the same as the Nama-maLx but the colophon of that
pariccheda is peculiar, ‘‘Iti Dhananjaya-krtau Nighantu-
sarnaya - sabda - samkirna - phaniti prathama - paricchedah
samaptah. The second pariccheda also has a colophon
i The
two paricchedas contain altogether 251 verses. Burnell
speaks of a work by Dhananjaya in three sections ;
(1) Rabda-saniklrna-rupana.
(2) Sabda-sarnkirna-prarupana.
(8) Sabda- vistirna-rupana-pariccheda
Dhananjaya is said to have written a kavya entitled Dvi-
sandhana-kavya, in the year 1123 A.D.
The third work of this list of which MSS. exist, is Dha-
rani-ko^a or Anekartha-sara arranged after the final con-
sonants and the number of syllables. He includes k^a in
the alphabet like most non-brahmanic writers.
I refrain from giving the names of the other ten
works of this list as we know nothing about them except
that they are quoted.
PREFACE.
cxli
In the Madras Catalogue, Vol, III, page 1170, on
grammar, lexicography, and prosody, mention is made of a
dictionary by maha-kavi Kali-dasa and the cataloguists
puts down tile name as a Kali-dasa. The work is entitled
Nanartha-sabda-ratnam. R. Sarma lias but slightly noticed
this in the para 18th of his introduction. I want to give it
a prominent mention for the following among other reasons.
Kali-dasa, in his Raghu-vamsa, makes his salutation to Siva
in the form of half man and half woman. This work also
begins with a similar salutation to a deity white in the right
and not white in the left. The second reason is tliat it has
been commentod upon by Nieaila-kavi Yogi-candra. Malli-
natha says in his commentary on the 14lh verse of the
Megha-duta that Nicula was a friend of Kali-dasa and that
Dih-naga was his enemy. The commentator Nicula says,
that he is writing the commentary because the author
Kali-dasa is his friend. Another reason is that Kali-dasa in
this work says that he whites the book that people may easily
understand words and their meaning without much trouble,
because at present without studying the Maha-bhaf?ya and
other works none can understand the meaning of words
mentioned by Panini, Sakti, Candra, Siirya, and Indra.
The commentator says that these are the five authorities
who settled the forms of words. But Kumara does not
do it.
Against these reasons, there is one which will throw
doubt on the authorship of Kali-dasa. In the colophon
of the tika, named Tarala, Nicula says, that he has been
encouraged to write the commentary by King Bhoja. But
he does not speak of Bhoja, as the King of Dhara, but only
as Maharaja-siro-mani. There is another reason against the
assumption that Kali-dasa is the author of this koj^. He
was certainly a Brahmanist amd depended on Pacini and
cxlii
PREFACE.
others for the correctness of words. But in his colophon
in this book he includes k^a in the Sanskrit alphabet.
Madras Catalogue, Vol. Ill, page 1186ff. makes mention
of another dictionary or kosa by Vara-ruci who was
honoured by Vikramaditya. Like other Vara-ruci’s diction-
aries it treats only of genders. But it is in verse.
The commentator who is nameless refers in the preamble to
Jaimini-kosa-siitra, to the opinions of Ivatyayana and
Vyasa to the declarations of poets, Sankara, Ananda and
others, to Dandin, Vatsj^ayana, andSasvata. The kosa and
the commentary extend over 41 pages, so the kosa must be
a very sliort w^ork of ninety verses in all and at the end
Vara-ruci declares that what is not mentioned here is to
be understood from usage. The colophon gives the name
of the work as Lihga-visesa-vidhi.
I draw special attention to tliese two works attributed
to two of the nine gems of the Court of Vikramaditya, one
on homonyms and the other on genders.
The late lamented R. Sarma, in para 16 of his Intro-
_ duction, gives a list of twenty-three
Kosas after Medmi.
ko§as in Sanskrit written before the
establishment of British rule in India. His descriptions are
short and he says these are less frequently quoted and not
regarded as authoritative. But the history of some of them
is interesting and so I give his list in full and add what new
historical information I could glean.
(1) Sabda-ratna-pradipa — perhaps the same as Kalya-
na-malla’s Sabda-ratna-dipa. It was composed in 1295 A.D.
(2) Apavarga-nama-mala or pahea-varga-parihara-
nama-mala — author Jina-bhadra Suri, a favourite disciple
of Jina-priya. His date is J2th century.
PREFACE.
cxliii
(3) Sabda-ratnakara by Maliipa, the homonymou&
section has a different name Nanartha-tilaka — date 1374.
(4) Bhuri-prayoga by Padma-nabha-datta the founder
of the Hupadina school of grammar. (See grammar section
of this Introduction.) The synonymous portion is short but
the homonymous portion is long, date, — latter end of the
14th century, place, — Mithila.
(5) Sabda-mala by Ramesvara Sarma, written on the
model of No. 4.
(6) Nanartha-ratna-mala of Irupaga-dandadhinatha or
Bhaskara. He was the younger brother of Raja Harihara I
of Vijaya-nagara. His name does not appear. Bhaskara is
the name perhaps of tl)e pandita, wlio assisted him in
preparing this dictionary. It was composed during the
latter half of the 14th century. It is curious to note that
Sayana and Madhava, though they wrote on various
branches of Sanskrit literature, never attempted lexico-
graphy, perhaps, because a royal prince had undertaken it.
These princes whose administrative work sat rather lightly
on them, often employed their leisure in the pursuit of
literature.
(7) Abhidhana-ratna by •Jata-dhara. Aufrecht says,
the author was earlier than Raya-mukuta. The work is
modelled on Arnara-kosa, but gives in many places addi-
tional information. The author’s father was Raghu-pati
and mother Mandodari. He belonged to the Dindi g^i.
He lived at Deva-kada, near Chittagong, on the Pheni river,
which flows from the Chandra-natha hills (I.O. 1080).
(8) Anekartha-dhvani-manjari in 88 slokas. The
author is Gada-sirnha, who se^ms to be earlier than Raya-
■cxliv
PREFACE.
mukuta. Gacla-simha wrote many books and commentaries.
A fragment of his commentary on Bharavi is to be found
in my ancestral collection. Raghu-nandana quotes from him
during the middle of the 16th century. Gada-simha quotes
Rudra, Gangii-dhara, Dliaram, and Ratna-kosa.
A dictionary of the same name by the Maha-k^apaiiaka
of Kasmira has already been mentioned. That book con-
tains 320 verses.
There is another work of the same name in I.O. 1029
and 30, whicli contains slokadliikara 92 verses; Ardha-
slokadhikara 69 verses; Padadhikara 19 verses; and a
fourth chapter containing 43 verses. Many of the verses
are identical with that of Maha-ksapanaka. Tlie author’s
name does not appear.
(9) Rfipa-maujari-nama-mala by Rupa-candra com-
posed in 1588, according to Bliandarkar’s Report for
1883-84 p. 60.
(9a) Sighra-bodhini-nama-mala by Pundarikaksa-vit-
tala who flourished in Akbar’s time.
(10) Saradiya-nama-mala by Harsa-kirti, a Jaina
monk at the end of the 16th century. It has a commen-
tary named Sruta-bodha by the author himself written in
1624.
(11) Sabdartha-ratnakara in three kandas, by Vamana-
hhatta-vana. Stein says that it is probably the same work
as quoted by Appaya Diksita. But R. Sarma surmises
that the author flourished in the last century.
(12) Nama-samgraha-mala by Appaya Diksita, perhaps
the same author who in th^ beginning of the 17th century
PREFACE.
cxlv
or earlier wrote works on a variety of subjects. It has
an erudite commentary showing the author’s acquaintances
with a large number of ko§as.
(13) Nama-kosa by Sahaja-kirti in 6 kandas. It
gives a number of rules for the determination of genders.
In 1627 A. I) the author composed a poem in praise of the
image or Parsva-natha at Lodhra-pura.
(14) Panea-tatva-prakasa by Vem-datta composed in
1644 and lithographed in Sat-kosa-samgraha.
.(15) Kalpa-dru by Kesava. li. Sarma has published
this book in the Gaekwa(l Sanskrit Series. It is divided
into three kandas, i.e., main brandies, each with a number
of pra-kan(jas or minor brandies. It was composed in
1660 A.D. Tliere seems to have been other Kesavas^
because Malli-natlia quotes from one. This may be Kesava-
s\'amL Kalpa-dru is the largest synonymous dictionary.
(16) Sabda-ratnavah by Mathuresa. R. Sarma tliinks
that this Mathuresa is identical with Mathuresa Vidya-
lamkara, who wrote a commentary on Amara entitled Sara-
sundari. The identification seems to be very doubtful.
The commentator is Mathuresa Vidyalamkara but the
author is simply Mathuresa. The commentator wrote in
the interest of Supadma Vyakarana which is not studied in
East Bengal. The commentator is a Banerji of Napadi in
West Bengal, while the author wrote in East Bengal under
the patronage of Mucca Khan Masalanda Elli, son of Isa
Khan who was the chief of the Bara-bhuiyas or Twelve land-
lords who divided East and South Bengal among them-
selves, in the beginning of the 17th century. Masalanda
Elli had many brothers among whom Khan Mahammad,
cxlvi
PREFACE.
Khan Abdulla and Khan Yuddhananda are mentioned in
the MS. Rupa-dasa and Vallablia-rama were Masalanda’s
Hindu officers who encouraged the author to write the book.
(17) Ko.?a-kalpa-taru by Visva-natha. It is both ho-
monymous and synonymous.
(18) Nilnartha-pada-petika by Sujana (Mad., Ill,
pp. 1166-67) and Sabda-lihgartha-candrika both are
homonymous, one arranged according to the last consonant
and the other according to gender. (Mad., Ill, p. 1206) A
commentary to the 2nd is entitled Drstanta-siddhanjana
by the grandson of the author whose name is Vidvat-kallola-
bhattacarya. The grandson of the commentator, Vidvac-
oakora-bhattacarya, wrote a sub-commentary entitled Sarat
(Mad., Ill, p. 1118).
The name of the text is Sabda-sabdartha-candrika,
that is, the moon-shine of words and their meanings. To
enjoy the moon-sliine one must have clear vision and clear
vision is obtained by the use of ahjana or eye-wash ; that
wash is supplied by the grandson. Moonshine is most
glorious in autumn and therefore the grandson’s grandson
names his sub-commentary simply as Sarat or autumn.
So the autumnal moonshine is seen with a clear vision by
the exertions of four generations.
(19) Paryyaya-sabda-mahjarJ (Mad., Ill, p. 1174)
by Vidya Hamvira-misra is a synonymous dictionary.
The author calls himself Candra-cudavatara,— an incar-
nation of the moon-crested Siva. It is in three gucchas
or bunches. It treats of those words whicli are commonly
used, those which are useful to men, and those that are
used in the sastras. In thedirst bunch it treated of cities,
PREFACE.
cxlvii
in the second, of men, and in the third, of the world. So
the work is concerned with terrestrial world only.
Sabda-sabdartha-manjiisa (Mad., Ill, p. 1210). The
catalogists says, it is by King HamvJra-misra, the colophon
says Kavi Hilmvira-misra. It treats of synonymous and
homonymous words. Its chapters are named Apavaraka.
In three apavarakas it treats of gods, men, and animals.
R. Sarnia thinks tliat the authors are identical,
though one is called a poet and the other, a learned man.
The king is, I believe, a mistake of the catalogist.
A work of the same name is quoted in Amara-khan-
danam by Sri-harsa (Mad., Ill, p. 1113). So the work
seems to be rather old.
The word nianjusa means a covered basket ; jewels
are put generally in a mahjusa. Things that are put in
are called ‘dhauka’, so the commentary of this Mahjusa is
‘Pliauka’ (Mad., HI, p. 1112). It is by Murari-misra, the
pupil of Mani-misra.
(20) Paryyaya-ratna-mala by Mahesvara (Mad., Ill, p.
1177) in three paricchedas treating of celestial, terres-
trial, and nether world objects respectively. It generally
treats of sentient beings. The author was a worshipper of
Mahesvara.
(21) Paryyaya-sabda-ratnam by Dhanahjaya Bhatta-
carya in three sargas treating of upper, middle, and lower
regions. The catalogist says, that the author refers in his
introduction to Sabdendu-sekhara. This is not the Sab-
dendu-sekhara by Nagesa-bhatta, because the author is
described as ^ Sabdendu-sekhara-krti-pravilasa mana-kirtih’
cxlviii
PREFACE.
that is a man whose fame has spread abroad by the work
entitled Sabdendu-sekhara.
(22) Visva-mcdinl by Saras vata-misra. (Mad., Ill,
p. 1192.) Medini-kosa is merely homonymous, so to
dilTcreniiate the present work from Medini-kosa it is
called Visva-medini. It is in three karujas, homonyms,
synonyms, and iiideelinables. It treats of genders in an-
other of his works named Hema-medini arranged in alpha-
betical order.
It has a commentary named Siimanah-kanta (Mad ,
III, pp. 1193-94) by Vacas-pati-misra, the author’s grand-
son. The grandson says that his grandfather was gutika-
siddha like many famous authors, and he gave him the
name Vacas-pati-misra.
(23) Visva-nighantu or Visva-kosa by Visva-kavi
(Mad., Ill, p. 1189). It is a homonymous dictionary, in
which the words with many meanings are given in the
1st case-ending and the different meanings in the 7th case-
ending.
These twenty-three works are given in the same order
as in R. Sarma’s introduction to the Kalpa-dru-kosa. But
there are other modern kosas, too. One of them is Sruta-
sabdartha-nighantu or Sruti by Somesvara, the pupil of
Yogesvara. It is in sixteen vargas. The author says that
Nighantu, Jhana-ko§a and others are well known. In
this kosa is given what is not said or badly said in them
and explained what is said in them. It treats of the Vedie
words, their names, their genders, and their meanings.
1.0. 1035 gives the numbers of each of the sixteen vargas.
The vargas are generally named after the first word. The
vargas from 8 to 15 are ^Kadi, Cadi, Tadi, Tadi, Padi,
PREFACE.
cxlix
Adbhuta, Yadi, and Sadi, The author says tliat lie has
studied both the mantras and tantras and collected words
which have a definite meaning there.
Paryyayarnava (Mad., Ill, p. 1181) by Nila-kantha is
a collection of synonyms in five taraiigas. The author says,
that whatever, Dhanvantari, Marici, Atri, and others have
said in the matter of terrestrial research will be noted in this
work. The five tarahgas arc (1) Nivandhana-tarahga,
(2) Patra-phala-vrksa-prasamsa, (3) Puspa-daru-vrksaka-
samsara-lata-gulma-sasya-visesa-parisilana-vicara, (4)Deva“
tiryag-jantu-vicara, (5) Manusyadi-vicara.
Krya-nighantu is a dictionary of verbs by Bhattoji
Biksita conjuejated in the third person,
KryanighanUi ^
singular, present tense. (Mad., Ill,
page 1115.)
Sarasvatabhidhana, a small vocabulary of 32 slokas is
„ , attributed to Saras vati herself. This
SarasvMtabhidhana.
is to be kept a secret by aU poets and
not to be communicated to others just as one’s age and
one’s wife. It has a synonymous portion in verses, and
a homonymous portion of twenty-three words. Rajendra-
lala Mitra notices two MSy. of this work, one containing
11 slokas and the other 47 slokas (L. 385 and 1122).
Nanartha-ratna is by Sri-natha who consulted many
kosas and many panditas with the
Nanurtha-ratna. * x • •
object of making the work useful to
young men. The word is generally given in the prathama
and its various meanings in the saptami. The gender is to
be known from the declension. The words are given in
the order of consonants at the end. (Our Catal. 4724.)
cl
PREFACE.
Kriya-kosa is by Rarna-candra, son of Visva-natha and
Kriya Kosa ^ disciplc of Ki^Tia Pandita. It gives the
meanings of roots which are classified
according to their import, — apparently a very modern work,
Aufrceht in his CataL III, mentions Kriya-ko.?a as an abridg-
ment of Bhatta-malla’s Akhyata-candrika by Rama-candra,
son of Visva-natha.
The author at the end of his book says, though Bhatta-
malla has written a book on this subject, he is writing this
abridgment for the comprehension of young men giving
those verbs only which have extensive currency.
The oldest work of this class is said to be Dvi-rupa-
A dictionary of words
with two or more forms,
that is, spellings.
kosa by Sri-harsa, the author of Nai-
sadha-carita. The colophon gives the
same account of Sri-harsa as in that
work. But in this work, he says of
himself, as Naisadha-rnaha-kavyojjvala-kirtina. It is not
only a Dvi-rupa-kosa, but a Tri-rupa-kosa, Catu-rupa-kosa,
and Panea-rupa-kosa. The forms of words differ some-
times in matra (quality), sometimes in letters, sometimes
in vibhakti (declension) and sometimes in rudhi or usage.
(Printed in Grantha-pradarsam.)
Sabda-bheda-prakasa is by Bhattoji Diksita. The
* , , , causes of different forms, in this work,
Sabda-bheda-praknsa.
are given a little differently from those
of Sri-harsa. It says, that the difference is sometimes from
matra, sometimes from letters, sometimes from difference
of meaning, and sometimes from rudhi or usage. (Mad., Ill,
page 1205).
Visesamrta, sometimes called by mistake Vi§amrta, is
viiBssrarta Tryamvaka-misra. It gives the al-
ternative forms of words. The author
PREFACE.
cli
says, that he was proficient in 32 bhasas from which
varieties of words were formed. (Mad., Ill, p. 1195.)
Sarasvati-vihisa is by Svarita-vallabha Bhattacarya,
born in the family of Hamkara-misra.
Sarsvatl-vilasa. . i i •
It IS divided into three chapters. (1)
Antyadi-ramyam (2) Dirghadi-vicitram (3) Ganita-
ganitadi-kathanam (Mad., Ill, p. 1120).
Vaibhasika-kosa by Krsna-kavi, son of King Laksmana
and Mallika. The work was written in
\/ i\ I KVi ai . Irrkaca I'^xr
Kra!»a-kavi. Kali-yuga era 4869, that is, 1768 A.D.,
the commentary, by the author, in
Kali-yuga era 4882, that is, 1781 A.D. It deals with
alternative forms of words (Mad., HI, p. 1200).
Another work on Dvi-rupa-kosa is by Purusottama-
deva. (I.O. 1037 and 1038.) Sabda-bheda-prakasa is also
attributed to the same author; but Eggeling says, “It
agrees pretty closely with the first part of the first supple-
ment of Mahesvara’s Visva-prakasa.
These works are so similar to each other that it is
very difficult to distinguish one from the other and so
there is confusion about the authorship in many of them.
A good instance of this has been given by Eggeling in
1037 of his Catalogue.
Dvi-rupa-dhvani-sarngraha is a vocabulary of words of
^ . different spellings by Bharata Mallika,
graha. — SOD of Gauranga Mallika (1.0. 1041).
Varna-desana (I.O. 10.39) is by Purusottama-deva. In
„ ... . , „ the preamble the author says, this
Spelling book» Varna- ^
deeaua. work is written for regulating the
spelling and it is to be regarded as a
command of the King.
clii
PREFACE.
The Sanskrit alphabet is purely phonetic but with the
advance of the Aryans towards the east and the admission
of many non- Aryan tribes into the Aryan society, the purely
phonetic character of the alphabet changed, and the change
is nowhere more marked than in Eastern India, especially
in Bengal. In Bengal ja (m) and ya (^) are similarly pro-
nounced, ba (^) and va (^) are similarly pronounced. No
distinction is made between the cerebral i>a and dental nd.
The three sibilants have the same pronunciation. This is
true so far as the sound reaches the ear. The form of let-
ters in different provinces, specially in the east, also creates
confusion ; klia and ksa are often confused in writing,
sometimes sa is wnritten for both. Gha and ha, are often
confused, da and nda are scarcely distinguishable. Puru-
^ottama writes his Varna-desana to prevent all these con-
fusions and to regulate the spelling according to the old
phonetic alphabet. Mahesvara in the appendix to his
Visva-prakasa, entitled Sabda-bheda-prakasa, made an at-
tempt to regulate spelling in the same direction. But
Purusottama seems to have taken up the work in earnest.
Besides his Varna-desana, he has written Ekaksara-kosa
4731 — VI. Sakara-nirnaya 4728 — III, is a spelling book
designed to point out, what words have the letter sa, what
words sa and what words sa ; what words have na and
what words have ja ; and from this it appears that Puru-
sottama was a Bengali.
Varna-prakasa is by Karna-pura written for the use of
Raja-dliara, son of Amara-manikya of
Yanm-praknsa. Tripura, the 159th king from the
Moon. (See Introduction to the Raja-mala s^o.) The
object of the book was correct writing. The author con-
sulted puranas, punnings, yamakas, 19 kosas, many works
on dhatu-vrtti, and uu^i. It treats of the difference
PREFACE.
cliii
between, ja and ya ; na and na ; ba and va and the three
sibilants (LO. 1036).
Besides these tliere are many dictionaries of words of
one syllable only variously named Ekaksara-kosa, Varna -
bhidhana, Matrika-nighantii, etc. One of them is attributed
to Vara-ruci, another to Piirusottama-deva, a third to
Bharata Mallika, a fourth to Sudha-kalasa, a disciple of
Raja-sekhara, a fifth to Sri-nandana-bhatta, and a sixth to
Mahi-dhara, and a seventh to Bhaskara-pandita. They are
to be found in the T.O. Catalogue and in our Catalogue
Nos. 4722 and 4726. There are other kosas entitled Rasi-
kosa, Naksatra-kosa and so on. These are not kosas
properly so called, simply lists of Rasis, Naksatras, et cetera.
CHANDAH-SASTRA.
PROSODY.
In Vaidika literature, chandah does not necessarily
mean metre. It means anything that
V’^edic chandali is neither i • i i i • i ^
. , covers and includes, besides metre,
rhythm, style, iiitonation, melody, and
cadence, and all that embellishes and dignifi(‘s literature
from common speech. Every mantra has its chandah and
it is to be named before the mantra is uttered. Even
Yajus which is generally in prose has chandah. Long
prose mantras have their chandah. The VedicI angiiage
is called chandasa. Panini while speaking of the Vedic
language gives the word chandasi in his siltras as opjiosed
to bhavsayam.
etc., uttered by every brahmana
in their morning sandhya, is said to be in Prakrti chandah.
This is the Prakrti chandah of Pihgala in 84 letters.
There are chandahs of one letter, two letters, up to 104
letters. This cannot be metre. The mono-syllabic Bhuh,
the di-syllabic Bhuvah and mono-syllabic Svah are mantras
and they have their chandah.
Chandahs are generally divided into Vedic and laukika.
Laukika chandahs generally contain
twenty-four to forty-eight letters
divided into 4 padas or quadrants.
The Vedic chandahs are not so divided. Not to speak of
the Daivi-gayatri, etc., that is, from 1 letter to 23 letters,
even the Gayatri chandah of 24 letters is divided generally
into 3 padas or quadrants of 8 letters each. There are
Gayatris of 2 quadrants also^ called Dvipada.
PREFACE.
clv
Chandali was a powerful instrument in keeping the
purity of the pronunciation of Vedic
Ohandah as a Vedanga. -ri* i i
mantras. If there was any mistake,
the chandah will at once detect it. So, the chandali is
regarded as one of the six aiigas, limbs or subsidiary
studies of the Vedas. It is often called the chief ahga or
the first anga. So, much importance was attached to
it in V^edic timers. As a Vedanga it had treatises for
different Vedas, and different sakhas of it. But Piiigala’s
great work cast every one of them into shade, and they
have all disappeared, still Piiigala has perpetuated the
names of many a prosodists before him. He names
Kraustuki, Vaska, and Ttxndina as his predecessors in
Vedic prosody. (See Ping. cli. Ill, sutras 29, 30, and 36.)
But it is not possible to determine whether they were
writers bclongijig to different sakhas or wiiters like
Pingala of tracts on Vaidika chandah as a whole.
The age of Pingala was never properly investigated.
But the tradition embodied in the
Age of Pingalu.
Ivavya-inlmamsa by Raja-sekhara in
the beginning of the 10th century, places him immediately
after Paiiini, and both of them were tested at Patali-putra,
and Pingala-naga was in his old age, the preceptor of Vindu-
Sclra’s sons. So he must have fiourished in the 2nd half of
the 4th century B.C. As Panini has embodied in his great
grammar both chandasa language and bhasa, so Pingala has
also embodied in his great prosody, both Vedic andlaukika.
As Panini was preceded by several grammarians, who
wrote on bhasa, some of whom he names ; so Pingala was
preceded by several writers on laukika chandah, of whom
he names at least four, e.g., Saitava, (See. Ch, VII., sutra 10.
Rata and Mandavya, (Ch. VII, sutra 34) and Kasyapa (Ch)
VII, sutra 9).
clvi
PREFACE.
Pirigala’s system is based on arithmetic, permutation,
Pn.8aia'B system. Combination, and even progression
which subsequent writers did not take
any account of. Hence there is a great difference between
his system and those of VHta-ratnakara and Chando-mah-
jarL Like Panini, Pingala attempts to reduce the nomen-
clature of the essentials of his prosody into algebrical signs.
Guru and laghu he reduces to ga and la, and as the
whole of the system of prosody depends on short and long
vowels, the whole work looks like algebra, with short and
long vowels in different positions. In a combination of 3
letters, he has given us eight groups. Short vowels is one
matra and long vowels, two matras. Writing short vowel
with a cur\ c and long vowel with a line, he has given : —
^ =
^ ^
^ ^ ^ —
cT = ^
^ ^
_ w w
The Vedic prosody of Pingala ends with the 7th sutra
, of the 4th chapter. In the beginning
Vodic prosody of Pinpala. o
of the 2nd chapter he gives a tabular
statement in which the vertical column contains eight
entries, (1) Arsi (2) Daivi (3) Asuri (4) Prajapatya (6)
Yajusi (6) SamnI (7) Arc! (8) BrahmL The horizontal
columns contain the names of seven chandahs (1) Gayatri
(2) Usnik (3) Anustup (4) Vrhati (5) Pahkti (6) Tristubh, and
(7) Jagati. In the horizontal column ArsI, the chandahs
increase by 4 letters each, 24, 28, 32, 36, 40, 44, 48.
Above these there is Ati-jagati 52 ; Sakkari 66 ; Ati-
PREFACE.
clvii
Sakkari 60; Asti 64; Atyafjti 68 ; Dhrti 72 ; Ati-dhrti 76 ;
Kiti 80 ; Prakrti 84 ; Akrti 88 ; Vikrti 02 ; Samkrti 96 ;
Abhi-krti 100 ; Ut-krti 104.
“ The Vedic verses were composed at different times in
diverse localities and by various per-
Tlio V'edic veraes.
sons. The gifted authors were not
hampered by any rules of grammar or rhetoric, syntax or
prosody. The language was not stereotyped then, as it
subsequently became. In the unbounded vigour of genius
and amidst the surrounding luxuriance of nature they
burst forth into expressions, sometimes so exquisite as to
be almost inimitable. There is no wonder then that the
Vedas came to be regarded as an emanation from the
Supreme Source of all things. But that very luxuriance
made it well-nigh impossible to bring it under general
rules. Whatever schemes might bo adopted there would
still remain some exceptions that could not be included in
it. To avoid this inconvenience, the authors of the rules
of versification devised an exceedingly plastic and variable
numerical method. In it, a single syllable is a Daivi-gaya-
tri, be it a long or a short one. A couple of syllables are
a Daivi-usnik, three of them are Daivi-anustup and so on
to an indefinite extent.
‘^Then again by the rules of Nicrt and Bhurik (Oh.
Ill, sutras 59, and 60) Svarat and Virat, an addition of, or,
a diminution by a syllable or two is quite legitimate.
Thus the little gaps in the
numerical gradation are completely bridged over and
there could be no imaginable sentence or composition that
would not fall under one or other of these measures. We
must remember again that there was no restriction whatever
as to long or short syllables nor any regulation of pause or
civiii
PREFACE.
yati.” (Introduction, Para 13 and 14 of Ghosa’s Chandah-
sara-samgraha.)
As 1 have said in the preface to the Parana volume
that the Agni-purana has chapters on versification botli
Vedic and hiukika. The author of the J^urana follows
Pihgala closely as explained by an yet unknown com-
mentary, whose opinions have been refuted by Hala-
yudha, tlie standard commentator of Pihgala in the 2nd
half of the 10th century A.l). in Malava. The later chan-
dah works also deal with Vc^dic versification. One of
them counts the numbers the Vedic* metres as opposed
to laukika. The Narada-purana, too, in its second book
has a chapter on V'edie ju'osody.
Pihgala admits of three classes of laukika chandahs
(1) ganac-chandah (2) matrac-chandah
(3) ak^arac-chandah. One is Aryya,
etc.,: two, Vaitali, etc.,; three,
Samaiu, etc.
LaiikiUu section of Pin
gala’s Prosody
The unit of gana is generally called catuskala- gaiia or
a group of four short vowels. That gana can have only five
varieties, 1 1, and no sixth. Aryya,
according to Pihgala, consists of two halves. Both consist-
ing of seven and a half ganas. According to different ganas
in different places the Aryya has 80 varieties. These have
been given in notes of the Bibliotheca Indica edition and
explained by Ghosa in Paras 27, 28, and 29 of his introduc-
tion to Chandah-sara-saingraha. In the chief definition of
Aryya, the distribution in four padas is ignored. But sub-
sequent writers make the pause after twelve matras in tlie
first and second half, the chief point of an Aryya. But
Pihgala admits it only in the Pathya varieties of this metre.
The second division of laukika verses in Pihgala is
PREFACE.
clix
Vaitaliya. In it there are four quadrants. The odds have
14 matras, and the evens 16. The last syllable of each
pada must be long. There are altogether eighteen
varieties.
The tl)ird, aksarae-chandah is of three kinds: — (1)
Sama, (2) Ardha-sama, (3) Visama, that is {a) where all
the quadrants have equal numbers of syllables ; (h) where
the first and second have the same number of syllables as
the third and fourtli respectively; and (r) where all the
quadrants liave different number of syllables.
From Gayatri in 24 letters t o Ut-ki*ti in 104 letters, all
the ehandahs are common l)oth in the Vedas and in bha^a.
The difference being (1) the arrangement of quadrant is
very loose in t he Vedas and very rigid in the bhasa (2)
the niatra is, as a rule, ignored in the Vedas, but their suc-
cession is very strict in bhasa ; (3) the pauses are 7iov ed
in the Vedas, but they are essential in the bhasa.
The varieties of these ehandahs come to millions.
All ehandahs above 104 syllables, that is, 26 syllables
in a quadrant, are called Dandaka. In the 10th and 11th
centuries, the Dandakas became very fashionable. In
writing, these long metres looked like prose. In print,
too, they are difficult to be distinguished from prose. All
ehandahs, not mentioned in these rules, arc called gathas.
Prakrta-pingala is a work on chandah not of Vedic
or classical Sanskrit but of Prakrta. It is attributed to
Pingala, because, he is the earliest and the greatest of the
writers on chandah. It may have followed in some
instances Piiigala’s Chandah-sutra, but it is a very late
work. It mentions Hambira, the Rajput sovereign of
clx
PREFACE.
Me war in the 14th century. Muhammedan words are
often met with in this work, and the commentaries all
belong to the 17th century. The most noted name amongst
the commentators is Visva-natha Tarka-pahcanana, the
writer of three of the most difficult, abstruse, and
erudite works on modern Nyaya. How he came to write
a commentary on Prakrta-pihgala is a wonder. Vanisi-
dhara’s commentary was written at Benares in 1621. His
father, Krsna-deva, encouraged and helped him in his work.
Yadavendra, who has the titles of Budha-rajendra, Dasa
vadhana, and Bhattacarya wrote a commentary on the
Prakrta-pihgala with the object that no teacher’s assist-
ance Avould be necessary. There is another commentary,
by Knsna. A fifth commentary by Sri-harsa Sarma, son
of Pandita Makara-dhvaja, is mentioned in No. 9 of the
Chandah section of the Calcutta Sanskrit College Catalogue.
Pihgala-prakrta-sutra with a commentary by Bhatta
Laksmi-simha was composed in 1657 Samvat equal to
1600 A.I). The commentator says, that, Valmiki is the
earliest poet in Sanskrit, Sali-vahana in Prakrta and
Pihgala, wliieli is another name of Resa-naga in bhasa.
(This is perhaps the reason why in Rajputana, the bards
write in two distinct languages, Dihgala and Pihgala.
Maru-bhasa is Dihgala, and Vraja-bhasa is Pihgala.) Sef?a-
naga wanted to know how much of his hood was covered
by the earth and so he came to earth in the guise of a
brahmana. But Garuda, his enemy, knowing his disguise
swooped upon him from a great distance. The brahmana
said to Garuda, "'you see my skill in poetry, what I write
in one place I do not write in another”. So saying he
went on composing poetry till he came to the end of the
land and jumped into the sea and thus escaped the
vengeance of Garuda (Mad., Ill, p. 1226).
PREFACE.
clxi
Piugala-sara-vikasim is a Sanskrit commentary on
Prakrta-Pingala by Ravi-kara, who gives his genealogy
thus —
Sula-pani
I
Ratnakara Misra
I
Dohovi Pandita
1
Dhaiidesa
1
Bhiina-sena-misra
I
Haridiara Kavi
I
Ravi-kara.
The MS. in the India Office (I.O. Catal. 1110) was copied
from a MS. in the library of the Palpil Raja of Gorakpura
in 1814. Palpa is now in Nepal territory.
Vrtta-mauktika, is a Sanskrit treatise on Prakrta
metre by Candra-Sekhara, son of Laksmi-natha-bhatta
(LO. Catal. 1114).
Chandah-kosa is an exposition of Prakrta metres in
Prakrta stanzas serving as examples of particular metres
explained.
After Pihgala comes the great poet Kali-dasa as a
writer of two works on chandah in Sanskrit. The shorter
one, Sruta-bodha, is well known. Copies of it will be found
everywhere. It has often been printed. It has been
written in a very light vein addressing the poet’s wife.
The definition of each vrtta or metre is given in the
same metre. The rules of chandah are given in a few
verses in the beginning.
clxii
PREFACE.
It has a commentary (Mad., Ill, p. 1243). The com-
mentator puts forth an apology for Kali-dasa, for not
writing a Mahgalacarana. He says, that, Kali-dasa did
write a Mahgalacarana, but he has not put it here.
Another commentary is mentioned in I.O. Catal. 1086. It
is called Sruta-bodha-vrtti by Harsa-kirti Upadhyaya, pupil
of Candra-kirti of the Naga-puriya gaccha.
The other work on metre attributed to Kali-dasa is
Vrtta-ratnavall. It consists of 71 stanzas in praise of
Sarasvati. Every stanza is in a special metre and con-
tains the name of that metre. It gives no rules of
prosody.
The next great writer on chandah is Ratna-kara
Ranti of Vikrama-sila-vihara and the guru of Dipaiukara-
sri-jhana or Atisa, the organiser of Mahayana Buddhism
in Tibet. The work is entitled Chando-ratnakara, in
which the author is given the title of Kali-kala-sarvajha,
that is, a Buddha of the Kali era. Ratnakara Ranti was
an eminent controversialist and an acute logician. His
Antar-vyapti-samarthana has been published by me in the
Bibhotheca Indica series as one of the six tracts on Bud-
dhist logic. Some of his songs in Bengali survive in the
Carya-carya-viniscaya. The I.O. MS. is accompanied with
a Tibetan transliteration and a Tibetan translation. It
follows the classification of chandahs by Pihgala. It is a
wonder how he came to write a work on chandah (I.O.
Catal. 1105).
Vani-bhusaiia by Damodara of the Dirgha-bhu^ana
family in two paricchedas, — ^Matra-vrtta and Varna-vrtta
is to be found in I.O. Catal. 1097. It says that the matra-
vrttas are 43 and the varna-vrttas are 13 more.
PREFACE.
clxiii
Cliando-mala by Saranga-dhara Agni-hotri is found in
I.O. Catal. 1104. It is an elementary treatise on Sanskrit
prosody in which much has been omitted that is not useful
to a student of chandah. It has a chapter entitled Gatha-
prakarana. Then follow doha, sorattha, catusj)adika, etc.,
which are only used in Hindi and other vernaculars.
Vrttokti-ratna is a metrical paraphrase of Pingala’s
rules of Sanskrit prosody by Narayana-bhatta-tara with a
commentary entitled Pariksa, by the author himself, in
which the verses of the treatise are throughout interpretted
in a double sense. In the text the author follows the inter-
pretation of Pihgala as given by Halayudha. The Parik^a
commentary simply explains the text but does not criticise
it (I.O. Catal. 1106).
Vrtta-muktavah is by MaithilaDurga-datta (I.O. Catab
1113). The author was patronised by Hindu-pati, a raja
of the Bundela tribe. The first- king of the dynasty was
Campati-rao ; his son Chatra-sala ; his son was Sabha-
simha.
Vrtta-muktavall-tarala by Mallari, on Vrtta-muktavali
has not yet been found (I.O. 1112).
Two works of modern origin are very popular in India
but their dates are uncertain. They are (1 ) Vrtta-ratnakara
and (2) Chando-mahjari. Vrtta-ratnakara is by Kedara-
bhatta, the son of one whose name is variously spelt as
Pabveka, Pathyeka or Pebbeka of the Kasyapa-gotra and
a master of all siddhantas. It is divided into six chapters.
The tradition of the Chandah -sastra is given thus in this
work; — Mahadeva, Guha, Sanat-kumara, Vrhaspati, Indra.
Sesa-naga, and Pihgala whose disciples spread the chandah
all over the earth. As a popular work it has many
commentaries.
clxiv
PREFACE.
(1) Mati-manjari is by Narayaiia-bhatta-purohita, son
of Nr-simha-yajva (Mad., Ill, p* 1223).
(2) Dhi-sodhani is by 8ri-natha, son of Govinda-
bhat^a. The author is described in the colophon as Kavi-
sarddida (Mad., Ill, p. 1225).
(3) There is one conimcntary by Hcma-sainsada-adhi-
sa, son of Tirtha-nayaka. It speaks of Citra-kavyas at
the end. (Mad., Ill, p. 1238.)
(4) Vrtta-ratnakara-setu by Hari-bhaskara-sarma, son
of Ayaji-bhatta, grandson of Hari-bhatta, and great grand-
son of Purusottania-bhatta of the Kasyapa gotra, was
written at Benares in 1()76 A.D. (I.O. Catal. 1091).
(5) Bhavartha-dipika is by Janardana-bhatta (I.O.
Catal. 1093).
(6) The great Narayana-bhatta of Benares wrote a
commentary on Vrtta-ratnakara in 1546 A.D. His geneal-
ogy is given here as follows : —
Naga-pasa
Ahga-deva
I
Govinda
1
Ramesvara
I
Narayana
(See 1.0. Catal. 1094.)
The same Narayana-bhatta wrote an independent
treatise on chandah entitled Vrtta-kaumudi after the
title of Jagad-guru was conferred upon him by Akbar
PREFACE.
clxv
about 1572, when he relieved northern India from the
effects of a long drought spreading over 12 years by his
devotion to Rama. This work has not yet been found.
But it has been quoted by Diva-kara.
(7) Vrtta-ratnakaradarsa by Diva-kara, son of Maha-
(leva and grandson of Bharadvaja-Balambliatta in 1740
A. D. The writer has made full use of Narayana-
bhatta’s commentary and his work on Prosody entitled
Vh'tta-Kaumudi (I.O. Catal. 1095). The commentator
quotes a number of standard works on cliandah. The
commentator’s father Mahadeva lias been described
here as a Tarkika. He is the author of Dina-kari, a com-
mentary on Siddhanta-muktavali of Visva-natha Tarka-
paficjxnana.
(8) Vrtta-ratnakara-vyakhya entitled Ratna-prakasika
by Rama-krsna, son of Sadasiva-deva and Bhavani, grand-
son of SrI-pati-deva-suri and great grandson of Nila-kantha
of Atreya-gotra. The author wrote under the patronage
of Raja Baiia-siniha, son of Bhagavaiita-sirnha belonging
to the Ujjena-varnsa founded by Vikramaditya.
Chando-mahjari by Ganga-dasa, son of Gopala-dasa
and Santosa, a Vaidya by caste, is in six chapters :
(1) mukhabandha, (2) sama-vrtta, (3) ardha-sama-vrtta,
(4) visama-vrtta, (5) matra-vrtta, (6) gadya-vrtta-stavaka.
Chando-mahjan-tika by Jagan-natlia-sena, son of
Jata-dhara-sena, was written for the benefit of author’s
pupils (LO. Catal. 1101).
Chando-manjari-jivana by Candra-sekhara is to be
found in I.O. Catal. 1102. At the end there are certain
clxvi
PREFACE.
modificatioa« of metres, such as are detailed ia tlie last
chapter of Vrtta-ratnakara. It deals with Prastara,
permiitatioa, aad combiaation of aaltras or measures.
Other worivs oa Chaadah, aot so popular aad aot
so oftea used, are: — Ekavali, writtea by Gokula-aatha
uader the ])at.roaage of Fateh-shala, raja of ({adwal ia
the 17th eeatury. It deals with metres ia comaioa use.
The staazas givea ia illustratioa of various laetres are
all ia praise of Fateh-shahi. The work is divided iato
three Rataas. The author’s another’s aame is Uaia, aad
father’s aaaie is perhaps Vidya-aidhi. The author offers
this Ekavah to his patroa, as fit to decorate him (Mad. UI,
p. 1225).
Vrtta-maai-kosa, by Sri-aivasa, soa of Laksmi-veakat a
of the Vajsaaeya-sakha. The chapters are called Viskaai-
bhas aad there are six of theai (Mad. Ill, p. 1228).
Prastara froai root ‘str’ to spread, aieaaiag spreadiag
or expaasioa. Whea applied to chaadah. it meaas soaa-
sioa aad the calculatioa of the positioa of laatras or
measures, aad syllables, by perauitatioa aad combiaatioa.
It is aa iaterestiag subject, but very iatricate, iavolviag as
it does a good deal of arithmetical calculatioa. Aa
eaiiaeat astroaoaier of Beaeras of the 17th eeatury, aamed
Ciatamaai, has writtea a book oa the subject aamed
Pi'astara-ciata-maai. It is divided iato three chapters :
(1) Varaa-prastara oa metres regulated by syllables.
(2) Matra-prastara oa laetres regulated by quaatity.
(3) Khaada-prastara oa the applicatioa of music to
the precediag two classes of aietres.
The work may be of coasiderable use ia elucidatiag
the subject of rhythai ia ladiaa music. The authorities
PREFACE.
clxvii
consulted in this connection are: Dik^^ita, Piiigala-sutra,
Itharata, Blianuiha, Vrtta-ratnakara, Sahgita-darpana, and
8a ligita-ratnakara.
The father of the author, Govinda, was one of the tirst
cJass astronomers with a thorough knowledge of Paiiini,
Kavya, and Alainkara. The son Avas equally proficaent
ill grammar, Jyotisa, and Chandah.
Ghosh in the introduction to his ('handah-sara-sam-
<iraha, ])aragraphs 42-46, has applied algebrical formulie in
the elucidation of Prastara and these should be read
by those who want to ehundate this subject. His idea
is that Piiigala applied arithmetic and algebra to his
prosody, which subsequent writers have failed to do.
All that has been said up to this time relate to
blank verse alone. Later Sanskrit poets however used
rhymes Avhich they called Yamaka, and Jaya-deva has
made his rhymes sweet, melodious, and famous throughout
the world ; so much so, that in the vernaculars we have
nothing but rhymes till in the beginning of the sixties
ot the last century Avhen Michael Madhu-sudana Datta
introduced blank verse into Bengali from Europe. But
I don't think that Bengalis have taken very kindly to it.
ALANKARA.
RHETORIC.
Alankara-sastra or rhetoric is foriiuilated when there
is an extensive literature in any
Six kindfi of poetic liter- i i i.'i
hranch ot Foctry. Sanskrit rhetoric
regulates six kinds of Poetic literaturi^
in the main, and has six distinct origins.
The first kind of these is what Bbamalia calls ‘ ani-
baddfia ’ or ‘ muktaka ' — det ached oi*
(1) AiiibtuMhu OI milk- i . i .
loose, — one verse poc'try or short
])ieces. Tlie Sanskrit poetical litera-
ture abounds in tliis sort of poetry. The sid^tas of tlie
Ilg-veda contain from one rk to fifty-two res only, and
in the end of the lOtli Mandala the}^ are arranged accord-
ing to the number of verses or res they contain. Coming
later, the same anibaddhas and muktakas are to be found
m the Thcra-theri-gatha, in the Dhammapada (Sanskrit,
Prakrit, and Pali), in Gatha-saptasatl, Arya-saptasati,
Paheakas, Saptakas, Astakas, Dasakas, Virnsikas, Triiu-
sikas, Paheasat, Sa takas, Sapta-sataka, et cetera. For the
disciydine of writers of such extempore verses the formulation
of do§as or defects is quite enough. Excellences there
may or may not be; but it must be free of fault. One
single fault mars the enjoyment of a beautiful verse, just
as one patch of white mars the beauty of a handsome
person. There may be simple alahkaras like simile, but
alahkara has not much scope in such poetical pieces.
The second form of literature for which the help of
rhetoric is invoked is business prose, royal writs, ordinary
PREFACE.
clxix
correspondence and documents. Glaring mistakes of
(2) Business prose, royal
writs, etc.
grammar, language, and idiom must be
avoided in these, — especially, vulgari-
ty. It should have some excellences ;
it should be lucid, unambiguous, thoroughly clear to those
for whom it is meant, without technical terms and the
arguments should be marshalled in their proper order,
and so on. F'igures of speech have very little scope in
this sort of literature.
The third form of literature for tlie exercise of
rhetorical restraint is the language of
{.)) Languago^of cuntio- That language should
hv free from all detects ; it should be
lucid, unambiguous, free from hard technicalities, and so
forth. Figures of speech have very little scope here also.
But it strictly follows the rules of argument (the Tarka-
sastra and Hetu-sastra). If it does not, it is generally
condemned for faulty logic.
The fourth form is poetry in prose. Some say that
(4) Poetry in Prose,
katha and nkhySyika.
it is divided in two classes, viz., ak-
hyayika and katha. But others divide
it in many classes. It is here* that the
question of style arises. There should, of course, be no
glaring defects, and the figures of speech have a free scope.
There are some gunas or excellences that arc inherent in
one style, while there are opposites in another. Origin-
ally there were two styles; later on, there became many
according to the countries where they prevailed. In
advanced treatises stjde or riti came to mean the use of
compound words of different degrees. The Pahcali riti
uses compounds of two or three words, the Lati, of five
or six words, — seven at most. The Gaudi allows the
clxx
PREFACE.
(;omi)onncls of iiny iiiiiubcr of words while the Vaidarblu
allows no compounds. It was when poetry in prose was
the or(l(‘r of the day. that riti became the' established dis-
cipline of i lK'torie.
The hfth form of literature requiring the disciplin(‘
of rhetoric is the drama. But drania
(5) Di'finuj.
m(‘-ans much more than inere literar\’
compositioji. It has much to do Avith the prolession of
actors and actresses; and for establishing this disci})lin(^
on thenq this section of disci]dine is called the Nata-
sutra or Natya-sastra. It concerns more with how actors
shonld behave on tlu' stage than with grammati(‘,\l
deh'C'ts, stylish (c\c(‘llences, and figures of spc‘ech. Not
that tliey are neglected altogether but. they are givam
a subordinate position. The whole Sastra is concerned
with th(‘ motions of the limbs, modulation of voice, in-
voluntary exprt'ssions of the working of the mind, and
accidental and sinjcrficial ornaments.
The sixth form of literature is concerned with poems
in many (aintos. For t he discipline of
(('•) Maha-kavya r .i • i r i > •
writers of this class oi poems, rhetoric
is most needed. They have most of the higher characteris-
tics of dramas without the help of tlie actors and the stage
The work is very difficult. It is the poet’s words only
which have to produce all tlie effects of a drama. Vamann
gave th(‘ highest place to dramas among all the nibaddha
kavyas to the neglect of maha-kavyas and otlier forms
of literature.
So far as we are aware, these are the six branches or
forms of literature to which the discipline of the Alankara-
sastra is ap])lied.
PREFACE.
clxxi
The first source of information about the Alahkara-
sastra is to be found in Yaska’s Niruk-
Fir.t Source and the Nlgliantll .ITT, 13, a Hst is
Nirukta.
given of the particles of comparison in
the Vedic literature : and Yaska in his Nirukta illustrates
the use of these particles, and incidentally speaks of bhu-
topama, siddhoyjama, rupopama, and oven lu])lopama and
([notes a definition of upama from Gtirgya.
In the case of writing business ])rose, royal writs,
ordinary eorrespondences, the direc-
Smnui souK-e and the Prakaraiia
\rtha-Sastra.
2S, of Kautilya’s Artha-sastra. I here
we get some ellective (*riticism of the art of writing and of
literary composition, rather writs. The composition of
writs should have the following characteristics :- -(]) artha-
krama, (arrangenu'nt of subject matter), (2) sambandha
(relevancy), (II) paripurnata (completeness), (4) madhuryam
(sweetness), (5) audaryain (dignity), (G) spastatvam (clear-
ness). 4’he dosas or defects in com])Osition to be avoided
according to Kautilya, are: — (1) vyaghata (contradic-
tion), (2) punaruktam (repetition), (3) apa-sabda (bad-
grammar), and (4) samplava (misarrangement of words).
There may be differences of opinion as to t he date of the
complete work of Kautilya, but that does not apply in the
case of his chapter on writs. Because, at the end of it,
it is distinctly stated that this chapter was written by
Kautilya for Narendra (which is another name of (^andra-
gupta) after consulting all sastras and examining tbe prac-
tice in vogue. So, this chapter was written late in the
4th century B.C.
Since the advent of the six heretical teachers and
Buddha in the earlier centuries, B.C. controversy be-
clxxii
PREFACE.
tween tlie different sectsi and between the different Schools of
Third Source and the
Tarka-Sastra.
the same sect was the order of the day
’ and lasted for centuries. The contro-
versy used to be calJed katha. Dur-
ing Asoka’s reigiu in Avdiat is called the Third Sahgiti or
council, five hundred old monks wrote a work entitled
Katha- vat thu or points of controx ersy. Books were written
on vada, tarka, vivada, and hetu-sastras. These contro-
versies Avere useful in tAvo different ways. (1) It led to
accurate knowledge of logic*, and (2) to the accuirate krioAv ■
ledge of dosa and guna of composition. Tlu^ controversia-
lists Avere very keen about the exact import of words, —
their connotation and denotation. But they were not
much ill favour of clogging the clear expression of words
l)y figures of speecli. But they were also very keen about
clearing their language from the defects of logic or hetu-
sastra ; — especially those who wanted to pojmlarise the
hard doctrine of moksa b}^ writing kavyas on it.
Prof. Tucci in an article, J.R. A.S., 1929, July, on Buddh-
ist Logic before Dih-naga, mentions several works on Tarka-
sastra. In Part marked II, Asanga and Sthiramati spealv of
vakyas as suddha-A^akya, vivada-Aulkya, apavada-xTikya.
samvada-vakya andupadesa-vakya. Among the adornments
of speech is mentioned perfection of phrases, and this perfec-
tion depends on fix^e things : — (1) devoid of rustic expression.
(2) easy, (8) evident, (4) coherent, and (5) of good meaning.
Among the vacana-dosas of 9 kinds, there is one called
vyartha which again is divided into 10 sub-sections; (1)
anarthaka, (2) aparthaka, (3) yukti-haiii, (4) sadhya-sama,
(6) jati, (6) arthanupalabdhi, (7) asambaddha, (8) aniscita,
(9) siddha-sadhya, and (10) of Avrong doctrines. In a
controversy these do^as lead to the defeat of the party
committing these.
PREFACE.
clxxiii
In the Nigraha-sthana section of Nyaya-sutra as
settled by Vacaspati Misra in his Nyaya-suci-nibandha,
tliere are two adhikaranas, viz., the second and the
fourth which relate to language and thus come within the
range of rhetoric. The dosas are: (1) arthaiitara, (2) nir-
arthaka, (3) avijnatartlia, and (4) aparthaka. These form
the second adhikarana. Repetition of words is called pun-
arukta and repetition of word and sense when the meaning
is clear is also called punarukta. These two form the fourth
adhikarana.
The defects of argument are said to be of four classes
in the Nyaya-sutras ; viz., (1) hetvabhasa (when things
look like hetu ])ut they are not so), (2) chala or quibbles, (3)
jati (opposition to arg\iinent by similitude and dissimili-
tude), and (4) nigraha-sthana (points of defeat). Of these,
the chala or quibbles is purely a defect of language. For
example : — this man has come from Nepal because he has
a ‘nava’ (imw) blanket. The opponent says this cannot
])e ; for he has only one and not ‘nava’ (nine) blankets.
Professor LJi in his work on the Vaisevsika Sutra of ten
padarthas has proved that the Nyaya-sutras are quoted by
the Buddhist logician Harivarma in the 3rd century A.D.
So the Nyaya-sutras may safely be placed in the 2nd cen-
tury A.D. or even earlier ; and the discipline of the language
of controversy began before that time.
The word katha did not always mean controversy,
though in the Nyaya-sutras vada
Fourth Sourfe.
(controversy for ascertaining truth)
jalpa (controversy for humiliating an opponent) and
vitanda (controversy for the sake of controversy) are in-
cluded in katha. Yet in light literature katha has a
clxxiv
PREFACE.
different meaning,—- story. The oldest of these stories was
written in the ]^hnta-l)hasa in the 1st century A.D. Since
then, there had grown many Kathas among the Hindus,
Jains, and Jhiddhists.
Akhyayikas, shorts ones, are very familiar in the
liralimana literature of the Vedas. Tn classical Sanskrit
also, there are many works called Akhyayikas. Handin
says that the din’enaice between the kalha and akhyayika
is nil; but \'amana says that, there are many more
varieties of jKjetry in pros(‘. It is in wiiting long works in
prose that the necessity was first felt for riti or different
styles of writings. Later on, when the numbers of ritis
were settled, they were trajisferred to poetry also. As I
told already, that in the opinion of later j*hetoricians riti
meant the use of longer or shorter compounds, or no
compounds.
Fifth Sourro, and tJie
a-.stlstra.
The drama luul its origin, says Bharata in his Natya-
sastra (1. 17), in Brahma wlio took the
dialogues from the Rg-veda, acting
from the Yajur-veda, songs from the
Sama-veda and rasa from the Atharvan. 1 1 hink, in saying
so, Lharata, th('. chief interlocutor in the Natya-sastra
compares the drama with a sacrilice.
In all sacrifices, the professors of all the three Vedas
participate, and sacrifices wereregard-
Thc \ edio saenhee aiicicnt India as the greatest
and the drama. ^
work that man can do. The sacri-
ficial hall and the sacrificial altar had a variety and beauty
of construction wliich taxed all the resources of Vedic art
and imagination. The sacrificial hall was usually a projec-
tion of the fire-house ii^ which a perpetual fire was
rREFACE.
clxxv
kept burning by every twice-born man v\^orth the iianu'.
At tlie further end of the vedi or sanctified ground, therc^
used to be a fire-pit much larger ihcin tliat kept in tiie
fire-house. There the objects of offerings to the gods were
kept arranged. These offerings may be either animals or
vegetables, may be single objects or a combination of objects.
There were wooden glasses in which the frothing jui(*e of
soma used to be kept ready for the* use of the gods.
The idea Avas that the gods, invisible powers, ho\ er
round the fire-pit and anything that is put in the fire is
eaten l>y these invisible gods, (-lose to the rire-])it sat
Adhvaryus or priests [)rofessing the Yajur-veda, who pro-
nounced the sacrificial forniuhe and put the olTerings into
the fire. Fire was regarded as the mouth of the gods and
anything put in the fire was eaten by the gods. The Yajur-
vedi priests did all the manual and physical work in a
sacrifice. At tlie end opposite to that on which they sat
w^ere a row of priests, the Hotas and the Udgatas, nc.,
priests professing the Ilk and the Hama Vedas. Their
number was not fixed. At the call of the Hotas or the
callers, or the invokers, the gods used to come close to the
fire ajvd at a hint from them the Adhvaryus put things
into the fire and the celestial feasts began. It was a
general custom in ancient India which up till now lingers
in some parts that high feasts were accompanied with
music, both vocal and instrumental. As soon as the godly
feasts began the Ud-gatas or the Hama-vedi priests raist^d
their chants. The whole effect was a magnificent one and
it had a dramatic effect. Well might Bharata say that
Brahma in creating theatres or dramas, took recitation
from the llg-veda, the songs from the Hama-veda, and
the acting from the Yajur-veda. By saying so, Bharata
indicated that the drama had its origin in sacrifices, or af
clxxvi
PREFACE.
least dramas were compared to sacrifices. Bliarata also
says that Brahma took rasa from the Atharva-veda, i.6., the
Veda professed by the superintending priest or priests with
an implied comparison with the manager of the stage.
Everything that is mysterious and cannot be explained is
generally attributed to Atharva-veda ; and nothing can be
more mysterious than rasa. One reads a piece of fine
j)oetry and tears trickle down from his eyes ! One looks at
dramatic acting and becomes fired with heroic sentiments !
The relation between hearing of poetry and seeing of dra-
ma on the one hand, and the tears and heroic sentiments on
the other is a mystery; and this mystery is attributed to
Atharva-veda, — the Veda of mysteries.
Unlike the criticism from the first four sources which
is merely analytical, the criticism from the fifth source, (it
does not look into the beauties of syllables, words, sen-
tences, their meaning and their arrangement), takes in the
whole panorama of the drama and gives directions how to
enjoy it. It is a pleasure to turn from those minute details
with which our rhetoricians generally deal to the enjoy-
ment of rasa and the enchantment of siddhi or success
insisted upon in the Bharata Natya-sastra.
The sixth source for the discipline for which the aid
of the rhetoricians is invoked, is the
Sixth Source. , _ , t
maha-kavya. But I am sorry to
remark that no justice has been done to this class of poetry
by Indian rhetoricians as a rule. From Dandin downwards
many of them have given definitions of maha-kavyas
divided in sargas. Every definition suggests to me the
idea that the author is anxious to include some epic work
of his time into it. There is none comprehensive enough
to include all epics in the^efinition. Raghu-vamsa cannot
PREFACE.
clxxvii
be included into any definition of any of the earlier writeiK ;
till Visva-natha in the 14th century included it in his
definition, — “ Eka-vamsa-bhava bhupah kulaja vahavopi
va”. No attempt has ever been made by any witer
of rhetoric to show the synthetic beauty of a kavya in the
same way as Bharata has done in his worlc. Look into any
work on rhetoric, you will scarcely find two verses taken to-
gether to explain any synthetic beauty ; and the synthetic
beauty cannot be understood except by long quotations
Bhamaha has often risen to higher criticism, but this only
to find fault and not to explain beauty. He condemned
Duta-kavvas as ‘ayuktimat’; he condemned some work
on Udayana as impossible. The Dhvani-kara and his follow-
ers rose to very high criticism, — in fact have given the
philosophy of rasa, but none of them have ever attempted
to explain synthetic beauty in a maha-kavya.
Bharata's Nalya-snsira.
The earliest author of the Natya-stistra is said to
be Brahma himself. He took conver-
OruiM.v wBs siibieqiient, ^^tion or recitation or dialogue from
to the Vorian -i
the Kg-veda, songs iroin tlie oama-
veda, acting from the Yajur-veda, and the aesthetic enjoy-
ment from the Atharva-veda (Natya-sastra, chap. I, verse
17). This plainly shows that the drama originated after
the comx)Osition and the compilation in Sarnhita form of the
four Vedas. The relation of the Brahinana literature with
drama has not yet been investigated.
Natya-Biltras.
Its relation, however, with the Sutra literature is
intimate. Panini in his sutras speaks
of two Nata-sutras ; one by Silali
(Panini IV, hi, 110) and the other by Krsasva (P. IV,
ih, 111). We do not, indeed, know anything of these
sutras except their names, but they are Nata-sutras
dxxviii
PREFACE.
and they presuppose the profession of actors and they pre-
suppose an extensive dramatic literature necessitating the
(composition of works on dramaturgy. There was not one
sutra, but two, compiled at different times and in different
(countries, as their names are governed by different sutras
and have different suffixes. They were not composed
(jq'ta), for then they would be governed by Panini IV, iii,
116: but spoken ('prokta’) compiled from tradi-
tion (P. IV, iii, 101). This invests the Nata-sutras with
soni-vedic dignity.
i’li.n’ima'H Natya-santra
Tradition ascribes a Natya-sutra to Bharata also. He
is credited with having composed 1 wo
sutras; — one on dramaturgy and
another on instrumental musie. (Uttara-carita, Act 4.)
In the large work in 6,000 slokas called Bharata’s Natya-
sastra, he is the principal interlocutor. It is the largest
work on dramaturgy, nay, on rhetoric and alamkara extant.
Ft has the advantage of having been commented upon by
no less a person than Abhinava-gupta, one of the best
Kavsmarian scliolars in the best days of its literary history.
But it is a sastra and not a sutra. It is written in sloka
metre and is of considerabl(‘ extent.
These large works on sloka metre came
in vogue after the close of tlie sutra
period about 2nd century B.C., and there are evidences
to show that^ this work was written about that time. For
Distinction between
SiHi a and Sdstra
in chap. XXI, verses 89-90 (Kavya-mahi edition) it mentions
Salmas, Yavanas, and Pahravas toget her ; and it is a well-
known fact that these nations were the ruling powers
in Asia and North-west of India from 2nd century B.C. to
2nd century A.D. ; — and instead of writing ‘ Pahlavas’ for
Parthians, it writes Pahravas, — so near to the old Greek
spelling of the word ‘ IMrthavas ’.
PREFACE.
clxxix
Literature in the form of interlocution also came in
vogue about this time. In the Maha-bharnta and the
earlier Puranas, there are interlocutions in interlocution to
several degrees. But throughout this work, the interlocu-
tion is single, i.e., it is between Bharata and the rsis. That
also stamps it as more ancient than similar works written
in the form of interlocutions. Even, that form of inter-
locution is absolutely discarded in many chapters.
Another argument of tlie antiquity of the Bharata
Natva-sastra is to be found in tlu^
Uharala'.'. Hiiliquiiy.
17th chapter of the book, in which
language and dialects are enumerated and classi-
lied. Ill that chapter Sanskrit and Prakrit are spoken
of, not as languages or dialects, but. as modes of pronuncia-
tion (pathya). In fact, the chapter opens with this
statement. Bhasa, according to the [)osit.ion of persons
s])eaking it, is divided into four ; as (1) Ati-bhasa, (2) Artha-
bhasa, (3) Jati-bhasa, and (4) Jatyantari-bhasa. In all these
the modes of pronunciation arc Sanskrit and Prakrit (v. 30).
Ac^cording to countries, these bhavsas are seven, viz..
(1) Magadhi, (2) Avanlija, (3) Pracya, (4) Sinuseni,
(5) Ardha-magadhi, (6) Vahhka, and (7) Dak.sinatya. The
' vi-bhasas ’ or dialects are seven, viz., (1 ) Savaras, (2) Abhi-
ras, (3) Candalas, (4) Sacara, (5) Dravida, (6) Udraja,
and (7) of Jungle peo])lc. The dialects not to be used
in a drama are those of Varvara, Kirata, Andhra, and
Dravida (?) (verse 57), This enumeration and classifica-
tion of languages and dialects seem to precede the com-
position of Prakrit and Pali grammars, and therefore may
be safely placed in the 2nd century B.C., when Patahjali
was writing his Maha-bhasya for the use of the sistas only
or higher classes, and for keeping off the influence of the
spoken vernaculars.
clxxx
PREFACE.
There is a tradition that when Nahnsa, an early king
of the lunar race, became Indra or the
The Ptory oi of Hcaveu aiid was entertained by
the nripm of tho Nalas.
dramatic performances by Bharata, he
requested the celestial dramatist to give dramatic perfor-
mances on eartli. Bharata reluctantly consented and
brought down Apsaras and Gandharvas on Earth. They
remained there for a long time and had a progeny. When
the progeny grew up, they went back to Heaven leaving
this progeny to perform and act dramas on earth. Their
descendants proud of their eelestial origin and of the
success of their art began to caricature the rsis and
they in their wrath cursed tlunn to be Rudras. Thus the
profession came to be regarded as low and the actors as
Rudras. This old tradition is borne out by a statement in
Kautilya’s Artha-sastra, where it is said, (Bk. 1, Ch. ‘t),
'‘Rudrasya dvijati-susrusa karu-kusllava karma ca.” So
in Kautilya’s time, the profession of actors was relegated
to the Rudras. This shows that the Natya-sastra in which
the tradition is embodied is a very old work.
dab in Bharata,
and Bharata.
Fihgala
Chapters XTV and XV of the Natyasastra treat of
Prosody as a part of vaeika abhinaya
Claseitication of chan- acting in WOrds. In tllCSC tWO
chapters, the author follows the chan-
dah-sutras of Pihgala which divides
chandahs into three classes, — viz,, ganac-chandah, matrac-
chandah, and aksarac-chandah. Later writers on prosody,
however, have taken no notice of ganac-chandah. They
were satisfied with two classes of chandahs, — matra and
aksara. In chapter XXXII, 2, Bharata treats of chan-
dah as a part of gita and calls these chandahs dhruvas. In
this chapter also he follows the lead of Pihgala which fact
shows that Bharata is nearer to Pihgala in time than other
PREFACE.
clxxxi
prosodists. Pingala was the aged teacher of the sons
of Bindu-sara and he must have flourished during the
last half of the 4th and the first half of the 3rd century
B.C. Bharata may, therefore, be placed safely in the 2nd
century B.C. or thereabout.
Bharata’s Natya-sastra is a sastra, i.e., an extensive
work written in sloka metre like other
, sastras. Tt is not a sutra written
Sutra literature.
in the form of Vcdic sutras of Apas-
tamba, Bodliayana, and others. The characteristics of
ancicjit sutra literature arc : — (1) they are written in
aphoristic style in ]irose ; (2) every section of it begins
with the 1st person plural in future tense of a root in de-
noting eitlier speaking or explaining, e.g., vyakhyasyamah,
vaksyamah, etc., — (3) it may have karikas to support the
])urport of a sutra.
These sutra works are often accompanied by bha^yas
written in classical Sanskrit while there are many Vedic
expressions in the sutras themselves. Kautilya distinctly
says that he has combined sutras and bhasya in his
Artha-sastra. He calls it a sastra though it is written
in the sutra and bhasya form. Vatsyayana’s Kama-sutra
is wTitten in the same style as Kautilya’ s, but it is there
called a sutra. Bharata’s Natya-sastra is no sutra in any
sense of the term ; but it has many fragments of sutra
works imbedded in it. One notable instance of this begins
after the 33rd verse of the sixth chapter and continues
to the end of the seventh chapter. In these chapters
Bharata speaks of a sutra, its bhaf^ya, its sarngraha,
its karika, and its nirukta. He defines the last three
in sloka metre ; — sarngraha, in verses 9 and 10, karika, in
clxxxii
PREFACE.
verse 12, and ninikia, in verses 13 and 14, chap. VI. He
gives the whole of the samgraha of Natya-sastra in verses
15-33, chap. VI. Here the word saipgraha means table of
contents. At the second half of the 33rd verse he says, —
“ I have spoken in brief of a collection of topics (samgraha)
in a work on dramaturgy”. Then he proceeds, — “Now
I will speak on an exposition of sutra and its grantha —
by which term the commentator means its bhasya (Gaek-
wad — Edtn., chap. VI, 34, and Kavya-mala Edtn. chap.
VI. 32).”
Then commences a treatise in prose and verse in the
regular siltra form to the end of chap.
A treatise, written in VII, Commencing with — “tatra rasan
regular eva tavad adaii abhivyakhyasyamali ”.
Natya-sastra. As I havc Said bcfore all sutra works,
their chapters and sections commence
with the 1st person plural of some verb denoting ‘speaking ’
or ‘ explaining in the future tense ’ ; and in this treatise
such verbs are used at least seven times, showing that
there were as many sections in this portion of the original
siltra work. In this treatise the sutras arc accompanied
with bhasyas and other explanations and derivations, and
they are supported by karikas. The 9 rasas or aesthetical
enjoyments are defined individually. Their causes, effects,
and accessory emotions are then enumerated. Each indi-
vidual case then is summed up in some karikas. Similarly,
the 8 or 9 permanent emotions, 33 transitory emotions,
8 involuntary expressions of emotions are described ; and
each individual case is summed up in karikas. These
karikas are of two sorts ; — some in the sloka metre and
others in arya. In three cases both the sloka and arya
are quoted: —
PREFACE.
clxxxiii
(1) Atraryah slokasca bhavanti — VI. 104.
(2) Atra slokastavad arya ca — VII. 79.
(3) Atrarya-slokau — VIII. 105.
In these instances, Bharata the interlocutor himself
speaks of two sorts of karikas. But there are other
instances in which both are quoted without Bharata saying
that they are so, as in the case of hasya-rasa, — where
both «aryas and slokas are quoted.
The examination of this treatise in the Bharata Natya-
sastra leads to the following results: —
(1) The treatise is earlier than the Natya-sastra and
consists of siitra, bhasya, nirukta, and two sorts of karikas.
(2) The two sorts of karikas are nearest to the sastra
in time, though one set may be several decades earlier than
the other.
(3) Earlier goes the nirukta explanations, or the
derivation of technical terms.
(4) Earlier still goes the bhasya.
(5) Earliest goes the siitra itself.
So from the sutras to the sastra there were five stages
of development and they may have
Five stages of develop- taken fivc centuries. The Sutra then
the sastra form. pkaced in the 7th century
B.C., /.e., about two centuries earlier
than Panini, who bears testimony to the composition of
two Nata-sutras before him, — one by Silali and the other
by Krsasva.
The treatise which is thus imbedded in chaps. VI
and VII of Natya-sastra, speaks of aesthetic enjoyment of
drama. But everywhere in the 58 sections in which it is
divided are given directions to the actors how to express the
bhavas, and so it forms an integral part of a Nata-sutra. In
clxxxiv
PREFACE.
every section there are such directions as ‘"abhinetavyah” —
should be enacted; — ‘‘abhinayah prayoktavyah — per-
formance shown and ‘‘abhinayet” —should perform, — and
so on.
That the long work in sloka metre is much later than
the sutra work imbedded in it, is evidenced by the fact that
the long work speaks of dramatic rasas as eight. (G.V1.16.)
The siltra treatise speaks of them as nine. The Gaek-
wad Edtn. based on 40 MSS. has a
Enumeration of rasas, , , . i i
ninth rasa, viz., santa; which the
Kavya-mala Edtn. based on two MSS. only, has not.
Taking the former as more authentic, as it, is supported by
the commentator Abhinava-gupta, it becomes very difficult
to solve the problem of eight or nine rasas in drama, except
on the supposition that in times more ancient than the
Natya-sastra, santa, too, was regarded as a dramatic rasa.
Abhinava-gupta has made an immense effort to establish
that santa, too, is a rasa in dramas and has appealed to
all sorts of authorities ; yet he is not convincing. The
arguments of his opponents seem to have greater force than
all his apologies.
Eeading through the Natya-sastra, we often find
fragments of sutras incorporated in it. Beside the treatise
in chaps. VI and VII, there is another imbedded in chaps.
28--32, beginning with — , atodya-vidhim idanim vaksya-
mah — XXVIII. 1. It is, I believe, a fragment of Traurya-
trika sutra by Bharata mentioned in the Uttara-rama-carita.
It also has all the characteristics of a sutra work with
bha§ya, nirukta, and karika.
The Natya-sastra has a chapter on literary criticism.
Literary criticism in It is the 16th chapter of the Kavya-
Bharata. mala Edtn. The figures of speech enu-
PREFACE.
clxxxv
merated here are only four. There is no classification of
figures of speech relating to words and to their mean-
ing. The four figures of speech are simile (iipama),
brilliancy (dipaka). metaphor (rupaka), and repetition
of three, four or five letters in the same order but with
difierent meanings, — if there is any meaning at all it is
yamaka. The figures of speech are of the most rudiment-
ary character. There are some rudimentary subdivisions
in upama and yamaka (vs. 41-82).
The dosas or faults of poetic composition arc ten only.
They are: — (1) Giidhartha, (2) iVrthan-
Doaas.
tara, (8) Artha-hina, (4) Bbinnartha,
(5) Bkartha, (6) Abhiplutartha, (7) Nyayad-apeta, (8)
Visama, (9) Visaiidlii, and (10) Sabda-cyiita (XVI. 84.)
The guiias or excellences of poetical composition are
also ten. They are:— (1) Slesa, (2)
Prasada, (3) Samata, (4) Samadhi,
(5) Madhurya, (6) Ojah, (7) Pada-saukumarya, (8) Artha-
vyakti, (9) Udarata, (10) Kanti (XVI. 92). In verse 104,
Bharata gives the use of these figures of speech, defects, and
excellences, so far as they relate to rasa in a drama.
In a drama or in any poetic composition, the plot is
the main thing. The plot is the story;
— the story which runs throughout the
poem is called the adhikarika or principal. But there may
be plots within plots or stories within stories; and these
are called prasangikas or episodes. But episodes always
form a subordinate part and help in the development of the
main plot. The main plot is divided into five sections:
(I) commencement, (2) effort, (3) possibility of fruition,
(4) probability of fruition, and (5) fruition. These sections
clxxxvi
PREFACE.
come one after another in tills order. The episodes are not
governed by these five sections.
Apart from the plot, there are five poetical necessities
(artha-prakrtayah). (1) The central idea (bija), the central
idea gradually develops and ends in fruition. (2) The tie
(bindu). Whenever the thread of the story is lost the
bindu connects them ; and this connecting process may be
repeated till the end is attained. (.3) Accident (pataka).
It is an unconnected incident which helps in the develop-
ment of the main idea. (4) Detached event (prakari) —
when the accident does not help in the development of tlie
main idea. (5) Fruition (karya) — when fruition of the
main plot is accomplished.
There is another point of view from which the plot of
a drama is looked at. From this point of view, a drama is
said to have five limbs. (1) Mukha, in which the central
idea is mooted. (2) When the central
Synthetio^cr^icam of n apparently to be lost, that is
called pratimukha. (3) When there is a
doubt whether the central idea Avill be revived or not and
there is a search for it, it is called garbha. (4) When the
central idea comes out of the garbha either by temptation,
by wrath, etc., it is called vimarsa. (5) When the central
idea together with thef poetical necessities, mukha and
others is developed, it is called nirvahana or end. This is a
synthetic criticism of a drama.
Another piece of synthetic criticism is to be found in
chaps. VI and VII, where the processes by which the
aesthetic enjoyment is developed have been given. This is
a long process; and the aesthetic enjoyment has been said
as mysterious by Bharata, coming from the Atharva-veda.
PREFACE.
clxxxvii
The mystery would be cleared up iii the later history of
the Alahkara-sastra when a third function of wordvS
entitled dhvani or reverberation was thought of.
Kavyadarm of Dandin.
Kavyadarsa of Dandin as published has three chapters^
and a fourth is mentioned in 111, 171 entitled “Kala-paric-
chedah.” The first three paricchedahs are (I) Marga-vibhaga
(style), (H) Arthalahkara vibhaga (figures of speech relating
to the meaning of words), (III) Sabdalankara-dosa- vibhaga
(figures of spoccli relating to words, and defects). Gunas
(excellences of composition) have l)een dealt with along
with style in pariccheda 1.
The name means mirror of literature in which the fame
of ancient kings is so reflected that
ihGimme- “ Kavyn- rcflcctioii remains when the things
darsa. ’
reflected are gone.
No hard and fast definition of Poetry is aimed at.
The work defines the body of Poetry
Dehnition. ^ striiig of words witli a desirable
meaning. There may be a difference of opinion as to the
meaning of the word ‘desirable’. But that does not
matter. It is the most comprehensive definition of
literature, (and not of Poetry alone), for nobody would
write anything with an undesirable meaning. The body
should have decorations, and these consist in alankaras,
i.e., figures of speech relating to either words or to their
meanings. The author does not aspire to higher definition
of Poetry. He speaks of the utterances of his predecessors
and of usage as his guiding principle. He thinks that the
business of the world is conducted by the speech of si^tas
and of those trained by sistas. The word sista he takes
from, I believe, the Great Commentary.
clxxxviii
PREFACE.
After this preliminary, the author goes straight to the
division of poetry according to form ;
Clas«ificat.o„ of pootry • ^
poetry he includes not only epics
divided in sargas, but one>verse poems and short pieces
with two, three or more verses. In fact, great stress is
laid in the whole of the Alahkara-sastra on the latter form
of poetry. Many of the early Sanskrit and Prakrit poems
are mere anthologies. (2) Tn prose are included kathas and
akhyayikas. (3) The mixed means and includes dramas
(which the author does not intend to treat of) and campu.
Dandin again classifies kavya according to its language.
These are four, — Sanskrit, Prakrit,
CliiHsification of pootrv a j /i\ci i'j.
^ Apabhramsa, and Mixed. (1) Sanskrit
according to language. ^ ‘ ^
he calls the celestial speech. (2) Pra-
krit includes (i) tat-sama, (ii) tad-bhava, and (iii) desi.
He names Maharastri as the best of Prakrits in which
are written works like the Setu-bandha. (3) The languages
of Ahiras and others are spoken of as Apabhramsa ; and
Danclin gives Brhat-katha as an example ; but takes the pre-
caution to say that Sastra-karas call any language outside
Sanskrit as Apabhrarpsa. Mixed language is summed up
cryptically in three words — “ Natakadi tu misrakam ” . The
commentators have explained that this means that Natakas
are written partly in Sanskrit, partly in Prakrit, and partly
in Apabhranisa. This explanation is unsatisfactory as it is
a form of literature, and not a language. But a better ex-
planation of the above definition is now available, when we
know that there was a mixed language in which the Maha-
vastu-avadana, the Ratna-saficaya-
gatha, and other works were wholly
and (2) Sad-dharma-pundarika and
(1) Lalita-vistara were partially written. The oldest form
PREFACE.
clxxxix
of Sad-dharma-piindaiika as found in the Taklaraakan
desert is wholly written in that language ; and it is wonder-
ful that undoubtedly the oldest historical drama yet dis-
covered is written in this language. The drama, I mean, is
Saradvati-putra-nataka by Asva-ghosa found in the same
desert. All post-Asoka inscriptions in Safici and Mathura
are also written in this language, '^fhis language was
first discovered by Raja Rajendra-lala Mitra who calls
it the Gatha language, for, he found it in the gathas of
Lalita-vistara. Senart calls it mixed Kanslcrit. He finds
Sanskrit and Sanskritic forms of v^ords in the same
sentence and has written a grammar of it. In Dandin’s
time, perhaps, the dramas used to be written in this
language in the locality in which he flourished.
Languages used in dramas have been enumerated
already when dealing with Bharata. He knows no Maha-
rastri, — he uses the word Haksinatya in its stead. Dandin
uses the word Maharastri. Perhaps in his time it has
become Maharastri, though he also uses the word Daksi-
iiatya and criticises their methods of writing poetry (Dandin
I. 60, I. 80).
The word riti is not used by Dandin. He uses the
phrase — ‘ giram margah ’ and they are
two only according to him, Vaidarbhi
and Gaudi ; though there are many in which there may be
some difference, but no clear distinction. The Vidarbha
people were fond of ten excellences while those of Gauda,
their opposites.
The second chapter is devoted to figures of speech ;
and these are divided into circles, each
Chapter IT of Dandin.
circle showing many varieties. The
figures relate to the meanings of words. Of the figures
exc
PREFACE
relating to words, the yamaka is treated in full in the first
part of Chapter ITI. Then come riddles, 16 in number.
These, the author thinks, are the right ones ; the rest are
mere quibbles. Before the riddles and after the yamakas
come the bandhas or acrostics or letters of a verse made
into shapes of flowers, vases and so on which are treated as
sabdalahkara. Then come the dosas, — defects or faulty
words, faulty meanings, mistakes of fact, mistakes of ob-
servation, and so on.
The author does not mention any poet or critic by
name. But he speaks of his predecessors in Alankara-
sastra in general terms. Much has been made of quota-
tions, not attributed to any individual author in Dandin in
recent chronological discussions. But 1 think, they are,
and will ever remain unconvincing. Historical and geo-
Histoncal und geopjmplii-
cal Rtatementa in Dandin.
graphical statements in a work are
likely to be more to the point. So far
as the age of Kavyadarsa is concerned.
I forward two points : —
(1) In the riddle,
“ Nasikyamadhya paritascaturvarna-bibhil^ita
Asti kacit puri yasyam astavarnahvaya nrpah ”
(III. 114).
which means, ‘‘There is a city in the name of which
there is a nasal in the middle and four letters on the
sides and its kings have eight letters in their titles or
patronymics. The city is Kahci, with a nasal in the
middle and two letters on both the sides. The Bengali
commentator of the 19th century says, the kings were
Pundrakas with eight letters. But this is impossible, inas-
much as Kahci is far — far away from North-Bengal where
the Pundrakas lived. I think, the author means the
Pandyakas who were not far from Kahci.
PREFACE.
CXCI
It is a fact that the Colas were the inhabitants
on both sides of the Kaveri. Their ancient capital was
Uraga-pura or Uraiura. There was a time, however, when
the Colas were not on the Kaveri and Pandyas were lords
in Uraga-pura, their capital. For Kali-dasa says : —
Athoragakhyasya purasya natham
Daubariki devasainipametya.
Itascakoraksi vilokayeti
purvanusistam nijagada Bhojyam.
Paiidydyam aiiisarpita-lamba-harah. . . .etc.
(R. VL 69)
This shows that in Kali-dasa’s time, a Pandya king
was ruling in the capital of the Co|as. The Kavyadarsa
makes the Paiidyakas rulers of Kahcl which is several
miles north of the Coja capital. So, if it is possible to
ascertain when the Pandyas drove away the Co|as from
their capital and Kahci, it will be possible to ascertain the
age of Kali-dasa and of Dandin. It may be asserted here
that Hiueii Tsang about 640 A.D. finds the Colas at
Kadappa 200 miles north from Kahci.
(2) Two kings are mentioned in the Kavyadarsa, viz.^
Raja-varma in Chapter II, verse 279, and Raja-sena III,
66. The progress of arclunological research may bring the
ages of these kings to light. In III, 166, the example
runs : —
Colah Kalaguru-syarna-kaveri-tirabhumayah.
Iti desa-virodhinya vacah prasthanamidrsam.
This is an example of wrong country, x^guru never grows
in South-India ; and Cola was far away from the banks of
the Kaveri when this book was written.
€XC11
PREFACE.
Dandin’s Kavyadarsa had many commentaries in
Bengal in recent times. T.O. 1128
Kavya-tattva-vivecttka- i rr - x • i
kaumudi, (I.0. 1128 ). Kavya-tattva-vivecaka-
kaumudi by Krsna-kihkara Tarka-
vagisa of Gopala-pura. Dandin does not speak of rasa ;
yet the commentator says, — rasa is the soul and body of
Poetry, whicli certainly is not the idea of Dandin. llasa
plays no part in the Kavyadarsa. The commentary was
written early in the 18th century, as the copy available
was transcribed in Saka 1704.
Pandita Prema-cahda Tarka-vagisa, the first Bengali
Professor of Alaukara in the Sanskrit College, Calcutta,
also wrote a commentary entitled ‘ Malinya-pronchani in
which also he says that the utterance of good poets
delights the heart at every step by dhvani or reverbera-
tion, The idea of dhvani or reverberation is at least
600 years later than the time of Dandin. These com-
mentaries may be good treatises on alaiikara at the
time of the writer, and they may expound the ideas of
the author by more advanced ideas of later times, but
they are not historically true commentaries. They may
show uncommon rhetorical acumen, and may have done
useful work at their time, but as an exposition of the
text they are at best unreliable.
Kavyadarsa-vyakhya by Taruna Vacas-pati forms the
number 12834 of the Mad. Catalogue.
Kavyadarsa vyakbya commeuts on the first three paric-
(Mad. 12834). ^
chedas only.
Another commentary of the Kavyadarsa is entitled
Hrdayahgama the author of which
Hrdayangam5 j knowu. Thesc tw^o are known
(Mad. 12833).
as ancient commentaries.
PREFACE.
Kavyalahldira of Bhamaha.
Bliamalia’s Kavyalankara is perhaps the most im])ort-
ant work on rhetoric yet found. It
Bhamaha & Kav> a- bceii described in No. 12920 of the
Jankara.
D.C.S. MSS. of Madras. The only MS.
available is this one, from which in 1909 Prof. K. P. Trivedi
published the work in an appendix to Vidya-natha’s
Pratapa-rudra-yaso-bhusana in Bombay Oovernmont Sans-
krit Series. Tsvo young graduates, Batuka-natha Sarrna,
M.A., and Bala-deva ITpadhyaya, M.A., have published it
in Kasi Sanskrit Series— with a long introduction discussing
its chronologv.
We know nothing about the author, Bhamaha, except
this, that he was the son of Rakrila-gomin from the last
verse of his work. Bhrimaha divides his work in six chap-
ters and five heads : —
(1) Chapter I in 60 verses, treats of the body of
poems.
(2) Chapter IT and ITT in 160 verses, treat of Alan-
karas.
(3) Cliapter TV in 50 verses, treats of dosas or defects
of composition.
(4) Chapter V in 70 verses, is written on Nyaya.
(5) Chapter VI in 60 verses, is written on the purity
of speech.
As he has projected the subject matter of chapter IT
into chapter ITT, I see that he has projected that of chap-
ter TV into chapter V. Though he calls chapter V Nyaya-
nirnaya, it is really a projection of the 4th chapter. Nyaya
comes in in connection with the defects of writing. I think
the 6th chapter also is a projection of the 4th. It treats
of purity of speech ; i.e., absence of dosas.
CXCIV
PREFACE.
Bhamaha’s classification of poetry is given in English
by Dr. De, and I quote it, because it
clearly sets forth Bhamaha’s ideas : —
‘‘Then follows the classification of poetry —
({) according to form, into poetry or prose ;
{ii) according to the language employed, Sanskrit,
Prakrit, and Apabhramsa ;
(Hi) according to the subject matter, into fourfold
divisions
(1) So far as it deals respectively with incidents
human or divine ;
(2) incidents invented by the poet’s imagination ;
(3) incidents based on the several arts, and (4)
sciences.
(iv) according to the conventional way of grouping
compositions into fivefold recognised divi-
sions, viz.,
(a) sarga-vandha (maha-kavya) ;
(h) abhinayartha (drama) ;
(c) akhyayika;
(d) katha; and
(e) anibaddha kavya (i.e., detached poems like
gathas or individual slokas). ”
After this Bhamaha in I, 30 says,
“Yuktarn vakra-svabhaboktya sarvamevaitad isyate.
Vaidarbham any ad astiti many ante sudhiy Spare.”
All this certainly seems to be connected with expressions,
humorous and plain. This seems to be a fifth classifica-
tion of kavya by Bhamaha according to the manner of
expression.
Comparing Bhamaha’s classification of kavya with
that of Dandin we find that he discards
Bhamaha, an improve- misra form of poetry and the
misra form of language. Dandin's
PREFACE.
CXCV
description of poems in prose and poems in verse, Bhamaha
divides under a diiferent principle, viz.^ external form.
All this seems to be an improvement on Dandin.
The essentials of poetry are again divided by Bhamaha
in svabhabokti and vakrokti, or in natural speech and
crooked speech, or in plain words and humorous words.
This is a new principle of division and it is also an improve-
ment on Dandin who includes both these in Alahkara.
Bhamaha’ s classification of poetry according to the
nature of subject introduces a new element which is want-
ing in Dandin. The Sastrasraya kavya and the Kalasraya
kavya were peculiar ideas of Bhamaha, not to be found in
the Alahkara sastra.
The margas of Dandin, Vaidarbhi and Gaudi, are
not accepted by Bhamaha. He does not think these to
be different modes of writing. He tolerates the margas
as a matter of tradition. He lays some stress on the
humorous way of writing poems (I. 31-33).
Dandin does nowhere in his work aim at higher and
general criticism of poetry. In the
The aim of Dandin.
courts of Indian princes, in the present
day, there are poets who form castes ; who are experts in
composing extempore verses and short extempore poems.
Dandin seems to have laid down rules for the discipline of
this sort of poets, who certainly existed in ancient times
also, perhaps in greater exuberance. He is more concerned
with verbal criticism, criticism of forms, and figures of
speech. But Bhamaha often aims at general criticism.
He considers the practice of poets to send as messengers
inanimate objects like the cloud, air, and the moon, and
CXCVl
PREFACE.
sentient beings without speech, as bees, parrots, ducks, doves^
and others as unreasonable. How could they do the work
of a messenger is not understood. But if the sender of the
message becomes mad or insane owing to anxiety, such
actions may be tolerated; and many intelligent poets have
used this sort of messengers. So Bhamaha does not ap-
prove of the duta-kavyas, but tolerates tliem. Dandin
does not say a word about them.
Much has been made by modern critics from these
staieinents of Bhamaha to speculate
Bhfiinaha and Krdi'dusft-
whether Bhamaha
Kali-dasa’
Megha-duta. From Bhamaha's wordings, in verses 42-44
of chapter I, it is clear that in his time there wcto many
duta-kavyas, — for Bhamaha enumerates seven animate
and inanimate objects sent by these poets as messen-
gers. It is well-known that a lady in love in Ghata-
karpara’s sliort poem sends the cloud as her messenger
to her lord; and the message was successful as the lord
^returned after a few days. So, in Bhamaha’s time, there
were many Duta-kavyas ; but he does not approve of them
as they were unreasonable, but tolerates them if the sender
of the message is mad on account of passion or anxiety.
In the case of Ghata-karpara's lady in love, she makes the
cloud her messenger only when her heart was on the point
of being pierced by the arrows of Madana. This fact may
be an excuse for the lady to take such an unreasonable
step. Under these circumstances one cannot be sure
whether to save Kali-dasa from the charge of unreasonable-
ness Bhamaha adds ‘mad from anxiety’, or Kali-dasa adds
the same idea to escape from Bhamaha’s criticism.
Another instance of Bhamaha’s general and higher
criticism of poetry is that he finds a number of improba-
PREFACE.
CXCVll
bilitics in the story of Udayana. (Bliamaha, TV, 38-46.)
Udayana with all his cleverness could not distinguish
between a real elephant and an artiticial elephant made to
serve a purpose. This is impossible; because Udayana
himself was an expert in Hasti-sastra. His faithful com-
manders allowed him to enter into an enemy’s territory
without a guard. This is also an imj)ossibility. Either
his commanders were not faithful, or he neglected the
dictates of Niti-sastra or politics. The enemies surrounded
him, threw arrows at him, threw all sorts of missiles at
him and howled terribly saying, This fellow has killed
my son! This fellow has killed my father! This fellow
has killed my brother ! ” But they did not kill him. This
is beyond the limits of probability. Such improbable
things should not be written in sane poetry.
Other instances of higher criticism are given in
\\ 36-44.
From these instances of higher criticism meant for the
discipline of great poets and writers of epic and other
poetry, Bliamaha seems to be much in advance of Dandin,
who vTites only for the guidance of court poets, who
indulge in one verse poetry and short pieces.
As for the question whether Kali-dasa preceded Dandin
and Bliamaha, or they preceded him,
Dandin, Bhamaha, and ... , , , i . p . i
Kaii-dasa. cnougli to say that none of them
names Kali-dasa, nor quotes any pas-
sage well-known to belong to Kali-dasa, though Bhamaha
names a number of poets and critics before him. In this
matter, I will quote a passage from the great Sanskritist
Mahamahopadhyaya Gana-pati Sastri : “Bhamahacarya, it
seems to me, must have preceded Kali-dasa, for while he
cxcvm
PREFACE.
mentionB names of such poets, poems, and critics as
Medhavin, Ramasarma, Asmaka-vamsa, Ratnaharana,
Acyutottara, — all unknown to us; he has never named
Kali-dasa well-known to us and of world-wide fame, or
of any of his works of supreme excellence”.
Bhamaha seems to have been a purist in the system of
Sanskrit grammar and a great admirer of Panini. He would
not approve anything not sanctioned by Panini. He thinks
that the only person who has crossed the ocean of Sanskrit
language is Panini. These statements stamp him as
flourishing at a time when Panini’s grammar was revived
long before the revival of the Great Commentary in the
7th Century by Bhattr-hari.
The religion of Bhamaha is a matter of very great
doubt. Some sav* he was a Buddhist,
Bhiimaha s religion.
others say, he was a Hindu. His book
opens with an invocation to “Sarvam Sarvajnam”. The
word Sarvajna is applied to Buddha, but is also applied to
Siva, as in the case of : —
‘‘Devadevam pranamyadau Sarvajnam Sarvadarsinam,
Katantrasya pravaksyami vyakhyanam Sarvavarmi-
kam.”
in the mahgalacarana of Durga-simha’s commentary on
Katantra grammar. But the adjective “Sarvam” given
in Bhamaha’s mahgalacarana, according to his VI, 53,
means ‘‘ beneficent to aU ”, i.c., to all sentient beings. This
adjective may appropriately apply to Buddha. In the
first half of his fifth chapter, he shows deep acquaintance
with Buddhist logic. To him the pramanas are only two ;
viz., perception and inference, as in Buddhist logic. His
definitions of these two pramanas are taken from the same
.source. This looks as if he was a Buddhist.
PREFACE.
CXCIX
Against tliis it may be said that he takes no example
from a Buddhist work on poetry; and he is opposed to the
theory of Apoha, — a favourite theory of the Buddhists,
governing the relation between words and their meanings ;
and Santa-raksita and his commentator Kamala-sila, in
the 8th century take a good deal of care to refute his
tlieory.
But, Bliamaha speaks of Sastrasraya kavya in his
classification of kavyas according to subject. We know
of no Sastrasraya kavyas among the Brahmins. But
thei’e are Buddha-carita and Saundarananda kavyas
among the Buddhists based upon Sastra. As regards
Apoha, one section of the Buddhists only was adherent to
A])oha but not all (vide Foreword to Gaek. Edtn. of Tattva-
satngraha, IX XIX). But VI, 10. — in which Bhamaha
says that samudaya or collective unity is not anything else
but samudayi or collection of unities; and gives as ex-
ample that a house is not diHerent from walls, wood, and
the land, — stamps him as a Maha-yana Buddhist who
believes in trees but not in the forest.
He seems to have preceded the Buddhist commentators
of Paiiini in his admiration of that great sage, to the exclu-
sion of Katyayana, Patahjali, and others.
I have told before that the various classifications of
, kavya in Bhamaha are an improve-
ment upon Dandin ; therefore Daiulin
is earlier than Bhamaha.
But Dandin in his III, 127, after enumerating the
do^as in the same words as Bhamaha and numbering them
ten as in Bharata, says : —
cc
PREFACE.
‘‘Pratijna-hetu-drRtanta-hanir-do^o na vetyasau.
Vicara-karkasah prayas-tenalidhena kim phalam.’^
And Bhamaha in IV, 2 says : —
‘‘ Pratijna-hcfcn-drstanta- hinam dustam ca negyate.”
A fierce controversy is raging round these two passages;
some say that Bhamaha is earlier and he considers Pratij-
ha-hetu-drf^tanta-hani a dosa and therefore should not be
used. But Dandin says, it is a dry controversy whether it is
a dosa or not : what is the good of our licking it ? The
supporters of Bhamaha’s priority quote another verse,
Bh, V, 3.—
“ Svadu-kavya-rasonmisra in Rastramapyupayujyate.
Prathania-lKlha-madhavah pivanti katu-bhesajam.”
and say that the word ‘licking' in Danijin presupposes a
simile of kavya with honey; and here is a passage in
Bhamaha that supplies tliat honey. So Dandin takes the
word from Bhamaha.
Against these 1 have to say : —
(1) If Dandin and Bhamaha were the only persons that
compare sastra to bitter pills and kavya to honey, the
arguments given would stand. But that is not the fact.
It is an old, worn-out and trite simile. It is found in the
last verse of Asva-ghosa’s Saundarananda:—
“ Patum tiktam iva ausadham madhu-yutam
hrdyam katharn syad iti.”
(2) Much stress is laid on the word ‘licking’. Asva-
gho^a uses the word ‘ drinking There is not much differ-
ence between the two idioms. There are bitter medicines
and honey that are either licked or drunk, so ‘licking’
cannot have a special significance. Dandin licks, not
honey, but Vicara, the bitter pill.
PREFACE.
OCl
(3) Bhamahca improves upon Dai.idin and classifies
kavyas according to subject matter in which sastrasraya
kavya, i.e., poems depending on sastra figure prominently.
So Bhamaha cannot ignore the defects of this class of
kavya relating to pratijna, hetu, drstanta, etc., and so
includes them among these defects, while Daudin who has
no idea of such classification and does not believe in
kavyas relating to sastras, can easily waive the considera-
tion of these defects.
(4) Tlie controversialists seem to be swayed with the
idea that Dih-naga was the first author on Buddhist logic.
But that is not the case. 1 have shown that controversies
were the order of the day, from 70t> B.C. downwards. From
the later Vedic age and the establishment of the six heretical
schools, controversies between the different sects and schools
were very common. To control these controversies, and to
lead them through the right path, a discipline grew up
under the various names of Vada-sastra, Katha-sastra,
Hetu-sastra, Nyaya-sastra, etc., which regulated the as-
semblies where controversies were held, classified con-
troversies of different sorts, chastened the language of
controversies, fixed the members of syllogistic logic and
formulated theories about the relation of words and their
meanings. Hindus, Buddhists, and Jains, all contributed to
the formation of this discipline. There is a long tradition
about the development of this discipline. Pratijna, hetu,
and drstanta are three members of Indian syllogism, which
were, at one time, ten, as given in Vatsayana’s Nyaya-
bhasya; — eight in later times in Asafiga who preceded
Dih-naga five in Gautama’s Nyaya-sastra and three in
Dih-naga. Any defects of these members were known
long before Bhamaha and Dandin and long before Dih-naga
and Asahga. The nigraha-sthanas of Nyaya-sutra which
ccii
PREFACE.
occupy the second ahnika of the 5th chap., speak of these
dosas. So these dosas cannot be fastened to any particu-
lar individual however great. They were traditional in
Oandin’s time as well as in Bhamaha’s and no argument for
the priority of either of them can be based on the enumera-
tion on these dosas. (Vide, the second article, entitled
Buddhist logic before DiiVnaga, J.R.A.S., July, 1929.)
(5) Both Damlin and Bhamaha mention the defects of
pratijna, etc. in connexion with rhetorical dosas ; and in an
argument about the priority of one to the other this
context may count. But Bhamaha uses ' prathamalulha-
madhavah ’ in another context where he defends poems
based on sastras. iSo this statement does not help any one
of the controversialists.
(6) That Bhamaha is in advance of Dandin will appear
plain from the fact that among figures of speech depending
on words, Daiidin expatiates on yamakas, vandhas, prahe-
likiis, and omits anuprasa altogether. But Bhamaha
makes no hard and fast rule to distinguish between sabda-
lankara and arthalaTikara. He does not even classify alah-
karas on the basis of words and their meanings. He includes
anuprasa among alankaras, but discards vandha and prahe-
lika. Even, hard yamakas he would not allow to be included
ill figures of speech, and says that if these hard yamakas
which are to be understood by an explanation like sastras,
are called poems, it is a feast for Pundits and woe to those
who are not Pundits !
The homes of the two authors up to now is a matter of
mere conjecture. Bhamaha is said to
be a Kashmerian and Dandin a South
Indian. Dandin mentions mount Ma-
li omes of Dandin and
Bhamaha.
PREFACE.
cciii
laya; he mentions the Colas; he writes riddles on Kahei
and the Pamlyas. He knows that the elephants of Kalihga
are not small like antelopes. In fact the Gaja-sastra says
that the elephants of Ahga and Kalihga arc the largest
(Dandin Til, 165, 166). So, he may be said to belong to
South India. Though by saying so we do not say much.
Bhamaha, however, takes Malaya from Daiyliii, and states
that to say that mount Malaya is beautified with pines
bending with its load of fragrant flowers is a dosa. Pines
do not grow in the Malayas : they grow in the Himalayas
only and they never blossom. This knowledge stamps him
as belonging to a land proximate to the Himalayas, —speci-
ally, the w^estern Himalayas wliere pines grow' luxuriantly.
of Vaota na,
Kavyalainkara-sfitra-vitti is not like Dandin’s or
Bhamaha’s works, written in verse.
Vumana’s woi'k. .
Vamana 'writes his Ivavyalamkara-
sutra in modern sutra form, without Vyakliya-syamah,
in prose and he himself supplies a commentary to it, called
vrtti. He divides his work in five books or adhikaranas
and subdivides each book into Adhyayas.
No.
Name of Adhikarana.
No. of Adhyayas.
1.
Kavya-sarira
3
2.
Dosa-dar.%na . .
2
3.
Guiia-vivecana . .
2
4.
Alahkarika
3
5.
Prayogika
2
The age
of Vamana is well known.
Abhinava-Gupta
in the 10th century says that Vamana
Vamana’ 8 age. , . t i
IS prior to Ananda-vardhana who
flourished in the 9th century. Some people say that, he
was a minister to Jayapida. He is do be differentiated
CCIV
PREFACE.
from the grammarian Vamana, who is one of the authors
of the Kasika-vrtti. Ho quotes from all well-known
Sanskrit works, the latest of which are Vem-samhara,
Amaru-sataka, and Hari-prabodha. He is generally placed
in the 8th century — towards the end of it.
Vamana is the great advocate of the riti-system. He
says in 1-2-6 “ritiratma kavyasya”
Vamana on iTti. * , i i
and the word he takes very nearly
in the same sense as the word ‘ style ’ in English.
According to him the ritis are three: (?') Vaidarbhi, (ii)
(^audiya, and (in) Pancah, named after the countries
in which and in the neighbourhoods of which they were
in vogue. Of these, the Vaidarbhi is the best, because
it has all the excellences of a poem. Some say that
the other two arc mere steps to rise to Vaidarbhi. This,
(Vamana) says, is wrong. The man who is accustomed to
weave hempen threads can never be a weaver of Tasar
silk.
The subjects of Kavya are affairs of the world, different
branches of knowledge and miscellaneous. Vtlmana divides
Kavya into prose and poetry. Prose, he classifies into tliree
sorts: (0 smelling verse, (ii) (^) plain words,
(Hi) rising and falling with the subject.
Poetry he classifies as single verse and treatises. Of
treatises, he places Dasa-rupa or drama at the head and
says other poems simply follow Dasa-rupa. That is, lie
values Maha-kavya, Katha, and Akhyayika less and
places them below Dasa-rupa but does not treat of it.
Vamana has long chapters on the excellences of styles and
their defects. His chapters on Alaiikara also are long.
Bhamaha adds a chapter on the purity of speech at the
PREFACE.
CCV
end of his work, so also does Vamana. He adds a chapter
on the use of words and lays down rules for the use oi
correct words. Tn this chapter he generally follows
Bhamaha but does not enter into those deep discussions
about the origin of words, their relation witJi meanings,
etc., which characterise Bhamaha. Vamana, however, lays
down many rules which have been taken very kindly by
later rhetoricians.
Tlie book or Adhikarana on Alahkara is divided
into three cliaptcrs. In the 1st lie treats of figures of
speech relating to words and these are two only, Yamaka
and Anuprasa. He rigidly excludes the bandhas, which
appeal to the eye and not t-o the ear and riddles which
form no part of Kavya. Tn that matter he wid(dy differs
from Dandin.
In the figures of speech relating to meanings of words,
* he gives the foremost place to Upama or simile and
treats of its varieties. The other figures of speech on
this head, lie regards as something like extension lectures on
Upama. He names that chapter as Upama-prapanca,- -
where there is Upamfi or similitude either expressed or
implied, direct or indirect, — thereby he excludes from it a
large number of figures in which similitude plays no part.
Though Dai.idi may be called the founder of the riti
school, there is no doubt that Vamana is the most power-
ful exponent of this scliool after him. To the Riti school,
-excellences and defects in words, in their meanings, in
sentences and in poems are the most important things.
Alahkaras are mere decorations ; they add external beauty
to the internal beauty of riti.
In the matter of purity of speech Bhamaha is all
praise of Panini, but he does not quote any sutras of that
CCVl
PREFACE.
author. But Vamana quoted a number of sutras and he
flourished long after the revival of Panini and perhaps
after the Buddhist commentaries of Panini had taken root.
When treating of the wrong
Vamana’b home. , . . . tt-
description of countries, Vamana
quotes this verse,
5TT5R I
Mathura is not in the Sauvira country, it is in the
Hurasena country. Sauvira is Sindh and Surasena is in
Hindusthan proper. The outskirts of Mathura cannot be
adorned with cocoanut trees which grow only in a salty
soil on the sea coast and walnuts never grow but in
the mountains. So it is very doubtful that Vamana
was a resident of Kasmira.
Udbtiata.
In Bengal any Sanskrit verse whicli cannot be
traced to its author is attributed to Udbhata. Any
number of Udbhata slokas may be found in Bengal and
Babu Pilrna-candra De by collecting tlicm together has
got the title ‘ Udbhata-sagara'. In other, parts of India,
Udbhata, however, is a noted name in Alahkara-sastra, -
often quoted by vTiters of authority. He is said to have
written a commentary on Bhainaha, entitled Bhamaha-
vivarana, MSS. of which arc yet to be discovered. Ud-
bhata’s complete work on rhetoric also has only recently been
recovered. The Alahkara chapter of his work, Alahkara-
sara-samgralia, was, however, published in Roman character
by Colonel G. A. Jacob in the J.R.A.S., 1897, pp. 829-
853. The fragment recovered treats only of the figures of
speech. Colonel Jacob gives in his index No. I, in alphabe-
tical order, the names of 53 alahkaras enumerated by
PREFACE.
ccvii
Udbhata, though in J.R.A.S., 1897, pp. 286, he counts
them as 41 alamkaras. In index No. II, he gives tlie
first and second lines of definitions and in index No. Ill,
t he first and second lines of quotations. These quotations
are taken mostly from [Jdbhata’s lost poem entitled
Kumara-sambhava and therefore, Jacob says, relate more
or less directly to the sayings and doings of Siva and
Parvati.
The fragment begins with Punar-ukta-vadabhasa as
a figure of speech pertaining to words. It has six sections
only and ends with Kavya-drstanta alahkara. Unlike
other writers on rhetoric, Udbl)ata does not seem to have
linished his work with alahkara.
The age of Udbhata is supposed to be before Ananda-
vardhana who quotes from him in the
Age ot Udbliata. . , ^ i i
middle of the 9th century. Dr. Buhler
assigns him to the time of Jayapida of Kasmira, (779-813
A.D.), probably in the earlier part of his reign.
Udbhata is fortunate enough in having a commentator
like Pratiharendu-raja who came several decades after
Ananda-vardhana.
In 1915 the work of Udbhata was published by
the Nirnaya-sagara Press with the commentary of Prati-
harendu-raja. Pratiharendu-raja is to be differentiated
from Bhattendu-raja, the preceptor
of Abhinava-gupta who inspired his
pupil in all his literary efforts. Prati-
harendu-raja knew the dhvani theory well, but did not
believe in it. Dr. De says, Pratiharendu obviously
belonged in his views to the older system of Udbhata
Pratiharendu-raja’g
commentary.
PREFACE,
ccviii
and did not, like Abhinava, believe in the newly estab-
lished doctrine of dhvani, with which, however, he was
fully conversant. Referring to this new theory of Ananda-
vardhana, Pratiharendu states in one place, (p. 79 of the
N.S. edtn.) tliat what is known as dhvani, and taken
to be the soul of Poesy by some thinker is included
implicitly by his author, ITdbhata, in the treatment of some
of the poetic figures under discussion and need not be
separately considered.’’ — Sanskrit Poetics, Vol. T, pp. 79.
Pratihara seems to be an elder contemporary of
Abhinava. He was the pupil of Mukula and a resident of
Kohkana. Mukula is known as the author of Abhidha-
vrtti-matrka.
Kavyalankaua of Rudrata.
Rudrata is a great admirer of poetry. He says in his
Kavyalahkara, 1, 5, — temples of gods and other lasting
works of kings endure but for a limited time ; the fame
of kings endures by the works of great poets in their
courts. The rewards of poets, he thinks, are many. By
hymns to gods and goddesses, poets overcome many
difficulties in life. Poetry brings to the poet wealth,
alleviation of evils, extraordinary pleasure, — in short, all
he desires.
Three things are essential in writing good poetry ; —
viz., genius, proficiency in sastras, and practice. Genius
is of two kinds, — natural and acquired. Of these, the
natural is more valuable. Proficiency means proficiency
in grammar, prosody, fine arts, knowledge of the world,
lexicons and import of words. This proficiency means
almost omniscience. Practice should be constant and
under the guidance of good men and good poets.
PREFACE.
CCIX
The definition of Kavya as given by Rudrata is the
same as that given by Bhamaha, — Sabdarthau Kavyam
This seems to be a very primitive definition. Rudrata treats
of sabda first and artha afterwards. Rudrata is very bold
in his theories. He overrides the fourfold division of words : —
llama, akhyata, upasarga, and nipata,--
Kudrata’s definition of i u n xji tt-
and adds a nith — the Karma-prava-
Knvya. ^
caniya which governs cases of nouns,
A new idea of Rudrata is the two functions of words, —
compound and simple. On these functions he bases his
idea of riti. He says that the Vaidarbhi riti consists
of simple words only, the Paiicali uses compounds of three
four words only, the Lati, of six seven words, and the
Gaudi may use compounds of any number of words. From
this, it is clear that his idea of riti is very different from
that of Damlin or Vamana, who include dosas and
gunas in riti.
According to form, poems are classified as gadya
and padya (prose and poetry), and
according to language (1) Sanskrit,
(2) Prakrit, (3) Magadhi, (4) Sauraseni,
(5) Paisaci, and (6) Apabhramsa, the last — differing widely
according to countries.
The figures of speech pertaining to words are five :
(1) vakrokti, (2) anuprasa, (3) yamaka,
(4) slesa, and (5) citra. He divides
vakrokti or crooked speech in two
parts. Crooked speech (a) owing to double entendre
(slesa), and (b) by intonation. Rudrata reduces vakrokti to
a verbal figure ; but Bhamaha divides the whole field
of poetry in Svabhavokti and Vakrokti, — i.e., natural
speech and humorous speech. Dandin does not speak of
ccx
PREFACE.
armprasa (alliteration) at all. One, Hari, a Prakrta writer
of rhetoric speaks of eight kinds of alliterations, but
Rudrata confines them to five and calls them vrtti.
Slesa, which Dr. S. K. De translates as Paronomasia,
and which T should like to translate as double entendre, is
according to Rudrata of 8 kinds : (1) belonging to letters,
(2) to words, (3) to genders, (4) to dialects, (5) to stems, (6)
to suffixes, (7) to inflections, and (8) to numbers. Of these,
the Bhasa-sle.^a is peculiar to Rudrata. The permutation
and combination of the six dialects give a large number
of varieties of this class of slesa. The commentator
improves upon the author, and says, — slesa of two dialects
has 15, of three dialects, 20, of four dialects, 15, of five
dialects, 6, varieties and slesa of all the six dialects has
only one variety thus making a total of 57 varieties.
The citras, says Rudrata are numberless. Tn this
figure the verses take the form of swords, clubs, arrows,
bows, stakes, missiles ; sometimes they resemble the sound
of horse’s hoofs, sometimes, the steps of elephants. The
prahelikas are included in this.
Four chapters are devoted by Rudrata to verbal
figures and one to the verbal defects.
The 7th chapter opens with the exposition of the
various categories of the Vaise^ika system of philosophy,
viz., dravya, guna, kriya, jati, etc., as all these are included
in the connotation of the term artha.
Rudrata says that the ideal figures are (1) Vastava,
(2) Upama, (3) Atisaya, and (4) Slesa (Artha-sle^).
PREFACE.
CCXl
Rudrata devotes four chapters (Chaps. VIl-X) to
the definitions and descriptions of these
ITis ftrlliixlRnlcCii ftS- „ i * i c j_i — i • i — nm
tour kinds ot artnalankara. Ihere are
altogether 66 varieties treated of under those four heads.
Rudrata perhaps gives the largest number of figures, —
both verbal and ideal ; and his book, Kavyalahkara practi-
cally ends with the 11th chapter. One of his peculiarities
is that ho does not treat of the excellences (gunas), verbal
or ideal, under separate heads. Perhaps he thinks that
want of defects is excellence, or pcrha.ps, he is satisfied
with a few directions given in II, 8. His riti is altogether
independent of guna and dosa.
Though the treatment of subjects promised in the
opening verses comes to an end in
the 11th chapter, he goes on with five
more chapters (XII-XVI). The com-
mentator Nami-Sadhu prefaces thovse chapters by saying
that the consequences of writing a poem accruing to
the poet has already been dilated upon. What is the effect
of poetry on the hearer ? The answer is — the attainment of
the four desired objects by mild and easy methods ; to
attain which methods poems should be made with great
care and full of a?sthetic enjoyments. These enjoyments
are not eight, as in Bharata, but ten ; — Santa and Preya
being the additional two. These ideal rasas are like physi-
cal rasas, sweetness, etc., and because resignation of the
world and devotion to deities are also enjoyable, they
are regarded as rasas.
Uasas dealt with in
Pvudrata.
The first rasa treated of is Love, and in that connexion,
the heroes and heroines, and their classification are given in
great details. The heroines are of 384 different kinds.
(But this is given in verses that are regarded as interpola-
tions by the commentator).
ccxii
PBEFAOE.
The 13th chapter is devoted to the enjoyment of
company and the 14th to the absence of lovers. The
15th deals with other rasas. The 16th chapter is rather
curious. It opens with an enumeration of the four objects
of desire and in a poetical work these should be treated
of as mixed witli sesthetic enjoyments. A poetical work
may be a Kavya-katha, Akhyayika, Kulaka, Nataka, and
so on. It may be classified as original or derived and
as long or short. In an original work, the poet not
only creates the plot, but also the characters of heroes and
heroines. In a derived work, the author takes the fraTue-
work from history and tills uj) the rest from his imagination.
In big works, the four objects of desire are dilated upon
and all the rasas are included ; in shorter works, any one of
the objects of desire may be treated of ; — the rasa may be
one fully described or rnany partially.
Maha-Kavya, Katha, and
AkhyayikS.
The author then gives a long description of a Maha-
Kavya. The description agrees with
that of Kaphphinabhyudaya, written
at Kasmira at the end of the 8th
century. Katha and Akhyayika have also been described ;
but there is nothing very peculiar in them. Katha should
be written exclusively in easy prose — full of alliterations,
and Akhyayika may be written in Sanskrit or in other
languages and in all these cases prose should be employed*
Rudrata by his name appears to be a resident of
Kasmira. There was a good deal of
Time^an^d pUce of differences of opinion regarding his
date. But Dr. S. K. De after much
discussion tries to place him in the first quarter of the
9th century. Rudrata was perhaps contemporaneous with
Ananda-bardhana ; this supposition becomes all the more
PREFACE.
CCXlll
strong when we find that neither quotes from the other.
Rudrata was a great thinker and very bold in his opi-
nions.
J vudrata has tlirec commentators ; — ^thc earliest of
them is Vallabha-dcva of Kasmira who
C of longed fo tlio Lst quaitcr of tlio 10th
century and wrote many comment-
;u ies on standard poetical works. His grandson, Kaiyyata,
V j'ote a commentary on Ananda-vardhana’s J)evi-sataka in
977-978 A.D. The next commentator is Nami-sadhu, a
mendicant of tlie Rvetambara Jaina community and be-
longed to the Tluira-padra-gaccha. He says that the com-
mentary was composed in 1069 A.D. The 3rd commenta-
tor is Asa-dhara, mentioned by Peterson in his 2nd Report.
He belonged to the ])eriod of the Muhammadan conquest.
H(‘ was born in the country round Sambhara lake which
l)elonged to Piihvi-raja. After the overthrow of that
monarch, he went to Malava and lived at Dhara where
Ik* \n rote many works and acquired great celebrity.
Ritdra-bhatta’s Srngara-tilaka.
iSrhgara-tilaka by Riidra-bhatta is a work in three
chapters. I. Sambhoga-srhgara, II. Vipralambha-srhgara,
I [I. Hasyadirasa-nirupana, — in 96, 70, and 57 Karikas
respectively. The 1st chapter contains the classification of
Iierocs* and lieroines, the 2nd, various causes of separation
and its sufferings ; and the 3rd, all other rasas, the distribu-
tion of the four vrttis among the rasas, the relation of the
rasas to each other, and an examination of the bhavas.
The work ends with the defects of poems in the matter of
the development of rasas. The object of the work is the
raining of poets and lovers.
CCXIV
PREFACE.
The author does not give us any information about
himself. He is often confused with
Rudfataand Rudia- Rudrata ; the reason of this confusion
bnat^.
is that Rudrata also treats of the rasas,
but in the last four books of his work only. His Karikas,
however, are in the arya, while some of the Karikas of
Rudra-bhatta are in the sloka, metre. Their points of
view are also quite different, and the illustrations in
Rudra-bhatta’s work are very superior. The point of
view of Rudra-bhatta is : —
Prayo natyam prati prokta Bharatadyai rasa-sthitih [
Yatha-mati mayapyesa kavyani prati nigadyate || J. 5.
Tasrnad yatnena kartavyam kavyam rasa-nirantaram |
Anyatha sastravid-gosthyam tat syad udvega-karakam
1 . 8 .
The point of view of Rudrata is quite different. He
is a rhetorician first and a poetician afterwards. After
finishing all about poetry, he takes up the benefit to be
derived by hearing poetry; and these are the four great
aims of human life. He is not content, like his name-
sake Rudra, with giving directions to poets and lovers.
As Hema-candra quotes irom Rudra’s work, he must be
an ancient author belonging to the lOth or 11th century.
While treating of Agni-Purana in the preface to my fifth
volume, I excluded from my considera-
Agni-Purana.
tion its chapters on Alankara. I re-
served these chapters for treatment here. For reasons,
detailed in that volume, I have placed the Agni-purana in
the 9th century, and the chapters on Alankara simply
confirm my conviction. These chapters give us a com-
prehensive idea of kavya literature not to be found in
PREFACE.
CCXV
ancient writers. They treat of Kavya and Nataka in the
same breath and do not exclude Nataka like Dandin and
Bhamaha, and even like Vamana. It would have been very
interesting and instructive if we could get the treatise
or treatises from which the Agni-purana has made its
abstracts.
Agni-purana gives a comprehensive description of
Vahmaya, i.e., literature both spoken and written. Tt
consists, the piirana says, of sounds, letters, words, and
sentences, in which Rastra. (scripture), Itihasa (History),
and Kavya (poetry) are written. In scriptures the words
predominate and in history facts predominate, Kavya
dilfers from them, in so far as in it, the meaning pre-
dominates. The purana takes the definition of Kavya
from Daii(lin, but adds, that it should be full of excellences,
free of defects, and decorated with figures of speech.
Kavya has three sources, the vedas, knowledge of the
world, and original invention. The
Soarnes of Kavva iT.Tr-
purana classifies Kavyas according to
their form, into prose, poetry and mixed. In this it
follows Dandin though the order of its classification is
different from his. Prose, the purana defines, just as
Dandin does, as a string of words without quadrants.
But its sub-classification has been taken from Vamana.
Prose may be simple, full of long compounds, and smelling
versification. The sub-classification of prose according to
form is fuller here than in any of the three ancient writers.
Prose works consist of Akhyayika, Katha, Khanda-katha,
Parikatha and Kathanika. He gives definitions of all
these five, but no examples.
In treating of poetry, the purana treats first of
prosody and in this matter it strictly follows Pihgala.
CCXV]
PREFACE.
Just as Piugala quotes Kasyapa, so the purana also quotes
Kasyapa, and in fliis connection the purana quotes from
Dandin ;
ClaMaificatioii of Kavya.
Poetry it classifies as (1) Maha-kavya, (2) Kalapa, (3)
Paryabandha, perhaps Krajya-bandha,
(4) Visesaka, (5) Kulaka, (6) Muktaka,
and (7) Kosa. But it says that Maha-Kavya should
always begin with Sanskrit. If it gives up its Sanskrit
character and takes up a Prakrta form, it should be the
Tat-sama Prakrta. In that; case, it will not be regarded
as a great defect. This statement, I believe, means that
Tad-bhava and DesI Prakrta should be avoided by all
means.
After giving elaborate description of the prose and
poetic literature, the Purana sums up the mixed literature
in the following three lines, in chapter 336, verso 38,
This is an obscure passage, the meaning is by no
means clear. If it says anything, it says, that in every
canto there may be different metres and it should have
the substance of what is to follow and that the misra, or
minor, literature may be divided into two sections, Vapu
and Prakirna. The Prakirna may be written in all
dialects and may appeal to the eye or to the ear.
It speaks of twenty-seven forms of Dramas. Bharata
has only ten, while Visvanatha has
Drama in A gni -Purana . i , mi
twenty-eight. The source or sources
of dramatic compositions above ten is not known. But the
PREFACE.
ccxvn
Purana gives a description of what is common to all sorts
of dramatic composition. These common things relate
generally to what is called Purva-rahga, i.e., what precedes
the actual performance of a drama or before the dramatis
persona} enter the stage. It also gives the different parts
of the story. The different efforts by which the story is
represented and also the different sandhis or ties which
bind the parts of the story together. The Puraiia confines
the stories to India and to the three Yogas which have
passed.
The chapter on Rasas is prefaced by four verses de-
scribing th(‘ process of evolution of
lianas lu A^ni-inirnna. i rj x
Rasa from Rrahman. It says, that
the Supreme Brahman is Indestructible, Eternal, Unborn,
All-pervading. In Vedantas, it^ is called the One, the
Vital Principal, and 'riic J>ight. Pleasure is inborn to it.
It is never manifested, its only manifestation is named
Camatkara-rasa, or Wonder. Ahaiikara or egoism is
its firstr evolution. From that comes the idea of self and
from that idea of self comes rati or pleasure with the help
of momentary and other feelings. Rati is developed as
Srhgara-rasa. With this preface the Purai.ta proceeds with
the usual enumeration of rasas and bhavas.
According to this Purai.ia, the rltis are four, namely,
Pahoali, Garni), Vaidarbhi, and Lati.
Riti 111 Agni-puraiia Tlicse Ritis relate to literary composi-
tions. But to Dramatic action belong four vrttis or modes
of action (1) Bharati, (2) Arabhati, (3) Kausiki, and (4)
Satvati. Bharati is so called because it is attributed to
Bharata. It is full of talk, the actors are men, there are
few females who talk Prakrta. The mode of action called
Arabhati consists of magic, fighting, and all that produces
coxvm
PREFACE.
a feeling of wonder. The Agni-purana has a long chapter
on the motion of the body in dancing in theatres and
another long chapter on acting. Acting according to Sanskrit
authors is of four kinds, (1) relating to words, (2) relating to
the motion of hands, etc., (3) relating to emotion, and (4)
relating to dress, etc. Bharata gives details about acting
tor the development and manifestation of rasa and bhava.
Agnipurana’s summary is not taken directly from Bharata
but from some work intermediate between Bharata and
itself. Agni-purana’s summary of sabdalahkara is unique.
It recognises nine classes of sabdalankaras or figures relat-
ing to words.
(1) Chhaya, (2) Mudra, (3) Ukti, (4) Yukti, (5) Gump-
liana, (b) Vakovakyam, (7) Alliteration, (8) Picture, (9)
J)uskara, or hard nuts. Of these alliteration includes
Vamaka ; and hard-nuts include riddles.
Of the figures of speech relating to meanings of words
Agni-purana admits eight only, of
SabilalamkHras. i . i ,1 i • n 11 i i • i'l
which the first is fevabhavokti, that is
painting of nature. This is not regarded as an Alamkara
by many rhetoricians. Some divide the whole field of
literature into Svabhavokti and Vakrokti.
Agni-purana recognises some figures of speech as
belonging to both words and their
UbhaySlamkaras. . , . . ,
meanings ; these are six in number. It
is in connection with the last Abhivyakti that the Agni-
purana brings in the two functions of words, denotation
and implication, Abhidha and Lak^ana. The third func-
tion of words is not admitted by the Purana, it is called
reverberation or Dhvani. But in the last line of chapter
345, it uses the word Dhvani.
PREFACE.
CCXIX
This line has no connection with the previous line, yet
tlie editor has put three lines together in the last
verse.
As an ugly woman without any grace or charm is not
appreciated, so, Kavya with many figures of speech is not
appreciated if it is without grace or charm. These graces
or charms are called Gunas or excellences. These are
charms of composition : — the arrangement of words,
tlieir expressiveness, their flow, and their melody. The
al)iindance of compound words in Sanskrit makes the
various arrangements of words in a composition rather
beautiful and the Sanskrit rhetoricians have taken full
advantage of this incident of their language. From these
excellences some rhetoricians have built up their ritis or
styles of writing.
Sanskrit rhetoricians are very particular about defects
in composition. One of them says that the slightest
fault should be avoided in a Kavya as a small patch of
w^hite turns a handsome person into a loathsome one ; and
they are very particular about defects of comj)Osition.
They would not allow a single ungrammatical expression,
tautology, use of unusual words, use of words in unusual
meanings, far fetched meanings, etc., either in words, in their
meaning, in sentences, and even in treatises. A hard
compound in a verse on love destroys the whole beauty of it,
and so it should be avoided. Disjointed sentences, — unless
spoken by little children, mad men, or drunkards are to be
tabooed altogether. In this way even minute faults are
registered in Sanskrit works. But they also admit that
some faults of expression under peculiar circumstances
turn into excellences. Tautology is always intolerable but it
can be very well used in adding emphasis and in contempt,
ccxx
PREFACE.
e.gf., Go ! go ! The second “ go ” is tautologons but it
is used with effect.
Kavya-mTmamsa by Raja-Sekiiaea.
Kavya-mimanisa is not a book on rhetoric, nor one on
Poetics, but it is the work of a great
Age of Eaja-Sokhara. _ ^
poet and a great critic, embodying the
best traditions of Indian literature from the earliest times.
Raja-Sekhara, the author, was the tutor of Mahendra-pala,
the Gurjara-pratihara king of Kanauj. He was also
patronized by the King’s son. His time is therefore
well known. His literary activities ranged from 880-920
A.D. He belonged to a family of literary men for many
generations. His father was Durduka or Duhika. Nothing
is known about him except the fact that he was a minister
to some king. Raja-Sekhara’s mother’s name was Rila-
vati. His great-grandfather was Akala-jalada, famous for
his verses. One dramatist, Kadamvari-rama, became
famous by stealing Akala-jalada’s verses. Surananda, one
of his ancestors, was the court-poet of the Cedis. Tarala,
another of his ancestors, was a poet. Raja-Sekhara has
thrice quoted from the work of his wife Avanti-sundari
who was a poetess or a rhetorician.
Raja-Rekhara’s caste was rather anomalous. He seems
to have been a Brahmai.ia but married
IB mtagt. ^ ^ ^ family. The posi-
tion of the Yayavaras among the Brahmanas is undefined.
They are not to be found among the gotras and pravaras
of the Brahmanas. But Jarat-karii, a wild, weird and
strange rsi who married Jarat-kari, the sister of Vasuki,
the serpent-king, was a Yayavara. Astika, his son, wlio
put a stop to Janamejaya’s snake sacrifice, was a Yaya*
vara. The Yayavaras are not much to be found in the
PREFACE.
CCXXI
Indian literature till we come to Raja-Sekhara. There
£tre several classes of Brahmanas whose position in the
society is similarly anomalous. The Bhargavas of Raj putana
are regarded as something intermediate between the Brah-
manas and the Ksatriyas. The great sage Valmiki calls
himself a Pracetasa. But Pracetah, one of the ten Praja-
patis, has no place among the gotras and pravaras of
the Brahmanas. Yet Valmiki was a rsi and a great rsi too.
It was in an anomalous family like this tha1> Raja-Sekhara
was born.
He was a man of wide sympathies. The late la-
mcnti'd Mr. Dalai, the editor of Kavya-mimamsa. says
that Raja-Sekhara was not a sectarian. He not only
believed in the Hindu Trinity but honoured the founders
of other religions also.
Oihof works of Kaja-
Sekho I'M
He was a voluminous writer, though he wrote Sanskrit
in a terse, vigorous, pleasing, and
charming style, his knowledge of the
Prakrits and Vernaculars was deep
and extensive. He wrot^e charming works in many of
these Prakrits and vernaculars. He was a Kavi-raja, i.e.,
he could fluently write prose or verse in many languages, in
many forms of poetry, and could describe many rasas.
His earliest works seem to be Bala-ramayana and Bala-
bharata, two dramas. He also wrote Viddha-sala-bhanjika.
Kappura-mahjari is written in Prakrit. Hara-vilasa is
said to be one of his greatest poems, but it is only known
in quotations. Raja-Sekhara seems to have written a
work on the geography of India from which an abstract is
given in the 17th chapter of the Gaekwail edition of the
Kavya-miraamsa. It is also known that he wrote a
dictionary of synonyms.
CCXXll
PREFACE.
The Kavya-mimamsa was planned as a cyclopaedia
of Sanskrit literature. It was to be
Kavya-mirnamsa. .
in 18 adhikaranas or books, of which
only the first has been so far recovered. It is not known
whether the author finished his work. Otlier adhikaranas
may yet be found. So far we are concerned only with the
first adhikaraiia in 18 chapters.
Til
the 1st chapter, the author
gives the tradition
of the Kavva-mimamsa. The self-
Tradiiion of Kavva- i i i i i
- _ _ ' born ejave to his mind-born sons and
niimamaa. ®
pupils the science of Kavya-mlmainsa .
Among these was tlie Kavya-purusa wliom the Self-born
employed for the propagation of the science. Kavya-
purusa divided it into 18 adhikaraiias and distributed them
among his 18 pupils
Name of ADiiiKAKAr^jAS.
Name of pupils.
1.
Kavi-rahasya
Sahasraksa ,
2.
Auktika
Mukti-garbha.
3.
Riti-nirnaya. .
Suvarna-nabha.
4.
Anuprasa
Pracetayana.
6.
Yamaka
, ,
6.
Citra
Citrangada.
7.
Sabda-slesa
Sesa.
8.
Vastava
Pulasta.
9.
Upama
Aupakayana.
10.
Atisaya
Parasara.
11.
Artha-slesa . .
Utathya.
12.
Ubhayalankara
Kuvera.
13.
Vainodika . .
Kama-deva.
14.
Rupaka-nirupana
Bharata.
16.
Rasadhikarika
Nandikesvara.
16.
Dosadhikarana
Rhisana.
17.
Gunaupadanika
Upamanyu.
18.
Upani^at
Kucuinara.
PREFACE.
ccxxiii
This is in imitation of the Kama-sutra of Vatsayana.
There the Kama-sutra was one sutra under Nandi,
Rveta-ketu and Babhravya Pahcala. In course of time, it
split up into 7 adhikaranas : —
Name of adiiikarai^ia. Name of author.
[.
Sadharaiia
Carayana.
II.
Samprayogika
Ruvarna-nabha.
III.
Kanya-samprayuktaka
Ghotaka-muklia.
IV.
Bharyadhikaraiia . .
Go-nardiya.
V.
Paradarika
Ganika-putra.
VI.
Vaisika . .
Dattaka.
VII.
Aupaiiisadika
Kucumara.
The story of the splitting up of
the Kama-sutra into 7
adhikaranas and their collection into one again, seems to
be historical. But that of the Kavya-mimainsa into 18,
seems to be an invention of Raja-Sekhara. lie has put
down all the major heads of his .^istra before his time
in this list. He has not given the dhvani any place in it.
In the beginning, the author pro-
Divmion of KSvya- to give US 18 chapters, but
mimamsa. ^ ^
enumerates only 15. They are : —
I. Sastra-saingraha, II. Rastra-nirdesa, III. Kavya-
purusotpatti, IV. Pada-vakya-viveka, V. Patha-pratis-
tha, VI. Arthanusasana, VII. Vakya-vidhi, Vlll. Kavi-
visesa, IX. Kavi-carya, X. Raja-carya, XI. Kaku-prakara,
XII. Sabdartha-haranopaya, XIII. Kavi-samaya,
XIV. Desa-Kala-Vibhaga, XV. Bhuvana-kosa.
But in the body of the book we get all the 18 chapters.
They are as follows : —
I. Sastra-samgraha, II. Sastra-nirdesa, III. Kavya-
purugotpatti, IV. Pada-vakya-viveka, V. Kavya paka-
ccxxiv
PREFACE.
kalpa, VI. Pada-vakya-viveka, VIL Patha-pratistha,
VIII. Kavyartha-yoni, IX. Artha-vyilpti, X. Kavi-
carya and Raja-carya, XI. Sabda-harana, XII. Rabdar-
tha-haraiia, XIII. Artha-harana, XIV. dati-dravya-kriya-
samaya-stliapana, XV. Guna-samaya-sthapana, XVL
Svargya-pataliya-kavi-rahasya-sthapana, X VIL Desa-
vibhaga, and XVIII. Kala-vibliaga.
The 2nd chapter, entitled Rastra-nirdcsa, deals Avith
tlic olassilication of vah-maya, Le.,
Chnpt('rll. ^ ’
literature both written and oral, into
two broad divisions, Rastra and Kavya. Snstra again
is divided into two sections, the revealed and the made.
In this Avay it goes on expounding a system of Indian
literature which comprehends within itself all the Rastras,
and all the forms of poetry. Alahkara, it declares to
be the seventh auga of the Vedas, fifteenth of the Vidya-
Bthanas, and fifth of the Vidyas or Raja-vidyas of Kautilya.
Tile Avord Rahitya he defines as : —
“ Rabdarthayor Yathavat saha-bhavena vidya sahitya-
Audya.”
The 3rd chapter is a creation of Raja-Rekhara’s ima-
cAmptor III giuation. Here he speaks of the Kavya -
purusa and his bride the Sahitya-
vidya-A^adhu. The body of this Kavya-purusa is words
and their meaning. His face is Sanskrit ; lus arms are the
Prakrits; his loins are the Apabhramsas; his feet, the
Paisclca dialect ; his chest is the mixed language, his words
are full of sayings, his soul is rasa: his hairs are the metres;
questions, answers, and recitations are his playful words;
alliterations, similes, etc., arc his ornaments. He was the
son of Saras vati, the goddess of learning. She placed him
on a stone-bed in a bush in the Himalayas and went to
PREFACE.
CCXXV
bathe. Usanas found him there, — a forlorn little child and
took him to his hermitage. He addressed Usanas in a
verse, Usanas also replied in a verse, and so Usanas became
a Kavi. Valmiki pointed out to 8arasvati where her son
was and she blessed Valmiki, and Valmiki uttered a verse
when he found one of a pair of birds was killed by a
hunter. Thus Valmiki also became a poet. The Kavya-
purusa after liis marriage with Sahitya-vidya-vadhii, tra-
velled over the whole of India, and assumed difTerent
dresses in diflerent countries, and spoke in different man-
ners. Thus arose the riffs, vUtis, and jiravrttis.
In Cha]>ter TV Raja-Sekhara distinguishes between
the poet and the critic, and shows
^ ' where they agree and where they differ.
He says, poets are of three sorts; those who are geniuses,
tliose who learn poetry fj’om suggestion of of hers, and those
who have to work hard for if.
In Chapter V, Raja-Sekhara says that genius and profi-
ciency arc necessary in a poet. The
Chaploi’ V. 1 • t n- i i
poets are of three kinds, — Sastra-kavi,
Kavya-kavi, and Ubhaya-kavi,— they are all supreme in
their own sphere. The Sastra-kavis are of three kinds :
(1) those who write Sastra, (2) those who put poetry in
Sastra, (3) those wlio explain the doctrines of Sastra in
poetry. The Kavya-kavis excell in 8 things : — some in
composition, some in selection of words, some in selection
of meanings, some in figures of speech, some in turn of
expression, some in aesthetic enjoyment, some in style, and
some in explaining Sastra. Those who excel in two or three
things of tliese is a poor poet ; in five, is a middling poet ;
and a Maha-kavi excels in all. The essence of poetry is
paka (maturity), and paka is the result of constant prac-
CCXXVl
PREFACE.
tice. But what is paka ? After giving the various expla-
nations of the acaryas, of Mangala, of the followers of the
School of Vamana and of Avanti-sundari, — Raja-Sekhara
says, ‘‘ Paka is any expression which is approved by lovers
of poetry. It may flow from any sort of words, — but which
must be relevant to the sentence.” The pakas are of 9
kinds: — (1) nim, — always bitter, (2) plums, — bitter in the
beginning, but tolerable at the end, (8) grapes, -not tasteful
in the beginning but very much so at the end, (4) brinjals,—
tolerable in the beginning but intolerable at the end, (5)
tamarind — tolerable both in the beginning and at the end,
(6) mangoes, — tolerable in the beginning and sweet at the
end, (7) nuts, — good in the beginning but bad in the end,
(8) cucumber, — tolerable in the beginning but bad, at the
end, (9) cocoanut, — sweet in the beginning and at the end.
Of these nine, the first three are to be avoided. (Grapes of
eastern India are sour throughout. ) The next three may be
very good with a little manipulation; but the last three
are always good.
In Chapter VI, Raja-Sekhara treats of words correct
grammatically and meanings settled by
Chapter VJ. t i i
dictionary. Prom words and their
meanings proceed sentences. Kavya is a sentence with
guna and figures of speech. Some say that poetry is all
untrue and so it should not be taught. Raja-Sekhara says,
“ No.” There is nothing untrue in poetry. Artha-vada,
which is not true, is to be found in the Vedas, in the
sastras, and in the world, (and not in poetry). There may
be a wrong thing in a poem which comes in the course of
narration.
Chapter VII treats of reading and recitation of poetry—
Sanskrit, Prakrit, and Apabhramsa.
Raja-Sekhara approves the pronuncia-
Ohapter VII.
PREFACE.
CCXXVll
tion of the Kasmirians and lauds to the sky that of the
Pahcala, specially of Kanyakubja, and describes humor-
ously the pronunciations of the Dravidas, the Karnatikas,
etc. Some are good in Sanskrit, some in Prakrit, and
others in Apabhramsa.
In Chapter VIII are treated the sources from which
the subjects of poems and the modes
ClmptorVITJ. r i ,
of writing are to be taken. Some say,
these sources arc 12; but Raja-Sekhara says, they arc Ih.
The 12 are: — ^(1) The Vedas, (2) Snirti or Law, (3) History,
(4) Tradition, (5) Philosophy, (b) Religion, (7) Politics, (8)
Dramaturgy, (9) Erotics, (10) The Conduct of the World,
(II) Original Composition, and (12) Miscellaneous: to these
Raja-Seldiara adds the following four (13) Propriety,
(14) Propriety of things connected together, (15) Propriety
of things created by imagination, and (16) Propriety
of mixture.
(Jhapter IX treats of appropriate subjects of poe4ry.
Drauhini says, they are of three
(Chapter IX. ’
kinds:— (I) heavenly, (2) heavenly
and human, and (3) human. Ra ja-»Sekhara adds four more :
(4) belonging to the nether-world, (5) belonging to the
nether and the middle world, (6) belonging to heaven
and the nether-world, and (7) belonging to all tlie three.
Summing up, he says that the range of subjects of poetry
is limitless, (nihsimartha-sarthah) ; and in poetry that
limitlessness should be charming. This is the opinion
of the followers of Udbhata. But Raja-Sekhara says,
the subjects are not charming by themselves, but it is
the genius of the poet that makes them charming.
Apariljita says, they may be limitless, but the aesthetic
enjoyment from them makes them fit for poetry. Raja-
ccxxviii
PREFACE.
Sekhara says, agree.” Palya-kirti says, whatever may
be the form of the subject, its enjoyment depends upon
the particular character of the speaker. What an
admirer adores, a detractor censures and an indiiferent
man tolerates. Avanti-sundari says, things have no
fixed character, the character is given by the modes of
expression by lovers of poetry. Raja-Sekhara says,
I agree to both.”
The 10th chapter treats of the conduct of a
Chapter X ^ patroiiiscs
him. A poet should be liealthy both
in mind and body, should be well-dressed, and should
be an accomplished gentleman. His house should be
neat and clean and its surroundings should be poeti-
cal. There should be places where the poet may sit
undisturbed. He should be surrounded by dependants
S[)eaking different languages, and he should be the master
in choosing the dialects of his dependants. He should
keep writing materials near at hand. The acaryas say,
these materials are the surroundings of Poetry. Raja-
Sekhara says, ‘‘No, genius is the best surrounding.”
His daily duties and his routine of work during the day
are given. Some cautions are also given;— a poet should
never show a half finished work to anybody, for if anyone
claims it to be his own, where is the proof to show
that it is not his? It should not be read before one
who prides himself as a poet; it will then be crying in
wilderness, and it will be detracted. The ruin of
poetry consists in depositing it with others, sale, gift,
sojourn in other countries, shortness of life, worms, fire,
and water.
The king should call assemblies of poets. The
assembly hall should be chastely decorated with pillars,
PREFACE.
CCXXIX
doors, and verandahs. All sorts of scholars, poets, religi-
ous men, and artists should be called together. The
king should in this manner imitate Vasu-deva, Sata-
vahana, Sudraka, Sahasahka, and other ancient kings.
The first conversation should turn on poetry. But
from time to time, sastra also should be discussed ;
for even honey does not taste sweet unless appetisers
are used from time to time. Successful poets should be
carried in procession in a brahma-rafha with a turban
given as a prize.
The 1 Ith chapter treats of plagiarism of words. Some
of these are to be avoided and others
Chapter XI
may be sanctioned. Raja-sekhara
says that even one word in two meanings, if taken, from
anotlier poet Is a case of bad plagiarism. Tliese plagiar-
isms are so glaring that one need not have any instruc-
tion about them. Other thefts are forgotten in a short
time, but tlie theft of words are remembered for
centuries. Raja-sekhara distinguishes between a good
and a bad plagiarism.
The i2th chapter treats of plagiarism of meanings
and subjects. The acaryas sav that
Chaptora Xll and Xlil. .
ancient poets have dealt witli all
subjects ; there is nothing new. Therefore modern poets
can only improve upon them. ‘‘No,” says Vak-pati-
raja. Raja-sekhara says that a poetic eye by way of
mental penetration can distinguish between subjects old
and new. Even if a groat poet sleeps, Sarasvati would
show him the proper words and proper subjects. But
if a bad poet is always awake, his eyes are always blind.
The great poet suffers from something like congenital
blindness in the matter of things previously described by
ccxxx
PREFACE.
others. But in other matters he has celestial eyes.
What poets see with a pair of human eyes, cannot
he seen even by gods with three or thousand eyes. The
whole universe is reflected in the mirror of their mind.
Words and subjects vie with each other in presenting them-
selves before those high-souled people, to be seen first of
all. What the Yogins see with the concentration of their
mind, the poets exj)ress in words. Good sayings come in
crowds to tliein. “All this is true,” says Raja-sekhara.
But we read of three different sources of poetry: (1) that
of which the source is the older poets, (2) that, the source
of wdiich is concealed, and (3) that of which there is
no source. The first may be divided into two : (i) what
looks like a refiection, and (ii) what looks like a picture.
The second also is divided into two : (i) ‘ identical, and
(ii) like the entrance into a foreign city’. All these four
are forms of plagiarism. tiach may be divided into 8
groups, -making altogether 32 groups. Description of
these 32 is projected into the 13th Chapter.
Chapters XIV and XV treat of poetical licenses, —
technically called Kavi-samaya (con-
Chapters XlV and XV. , ' x • t i i •! mi
ventions of poets) m Sanskrit. Iney
are well known from other treatises of rhetoric.
The 16th Chapter treats of the conventions of poets
about the heaven and the under-world.
^ Just as in the moon, the hare and
the antelope are regarded as one, just as love is regarded
as a personality, — and so on.
The 17th chapter treats of the divisions of countries.
The whole universe comes within its
ChHptei XVII. purview; and the world is divided
PREFACE.
CCXXXl
into the heaven and the earth. The nether-world also
comes in. There are 7 heavens, 7 islands, and 7 nether-
worlds, — making a total of 21. The central island on
the earth is called the Jambu-dvipa ; it has 7 varsas or
countries, the southernmost is called Bharata. One who
conquers all the countries from the southern sea to the
Himalayas is a Sarnrat ; and one who conquers all the
countries from Kumari to Vindu-sarali is a Cakra-
vartin. Provinces of India arc given in great detail
witli the names of their districts, rivers, mountains, and
their products. Directions are given, north, south, east,
and west from Kanya-kubja. The colours of the people
of different provinces are also mentioned. But all this
is given from the point of view of a poet, and not of a
geographer.
In the 18tli or the last chapter is given the division
of time. There is one peculiarity; —
Chuptur XVill. ^ \ „
the seasons are conventionally given
as six. But as a resident of Kanya-kubja, Raja-sekhara
says, they are really five, the Hemanta or late autumn
being merged into the winter. Each season has four
phases: (1) the coming out of one season from the
previous one, (2) its infancy, (3) its maturity, and (4) its
immersion into the next.
The whole book is full of information about India
a thousand years ago, and it will be more valuable still if
the other 17 adhikaranas are found out.
The Dhvani-kara,
Three schools of criticism have already been des-
The dhvani school has a cribcd, viz., the earliest Rasa school
tradition. Bharata, the Alahkara school of
CCXXXii PREFACE.
Bhamaha, and the Riti school of Dandin and Vamana.
Then came the Dhvani school. All the schools had
a long tradition of their own before they were written
down in formal treatises. The Dhvani school is no ex-
ception to this rule; the earliest writer of it is the
Dhvani-kara, whose name has been forgotten. He has
a number of karikas, the very first of which says,
“ Kavyasyatma dhvanir iti budair yah samamnata-
purvah.
Tasyabhavam jagadur apare bhaktain alius tarn
anye.
Kecid vacani sthitam avisaye tattvamficus tadiyam
Tena brurnah sahrdaya-pritaye tat svarupain.’’
(I. 1).
This verse shows that long before the Dhvani-kara,
the dhvani was known. It was also known that dhvani
is the soul of poetry. There were three different sets
of critics who opposed it :
(1) One set denied its existence altogether.
(2) The second set gave it a subordinate position.
(3) The third set considered it to be a mys-
terious function beyond the comprehension
of men.
‘‘Therefore,” says the unknown author, “it is
necessary to reveal its true nature.” So the tradition
ho refers to seems to be an ancient one.
It is to be noted that the subject which connoisseurs
dehght in may be either expressed or suggested. The
expressed subjects have been variously described by
critics as consisting of upama and other figures of
speech (I. 3). But the suggested meanings in the works
PREFACE.
CCXXXlll
of great poets have their existence and they are outside
the parts like effulgence in handsome ladies (I. 4).
That suggested meaning is the soul of poetry, just as
in the case of the primordial poet Valrniki, the sorrow
caused by the separation of the couple of birds found
expression in the form of a sloka (L 5). The flowing
language of great poets, describing a charming poetic
subject, reveals their particular genius,— superhuman
and effulgent (I. 6). This genius, this language, and this
charming poetry cannot be enjoyed by the simple knowl-
edge of grammar and lexicography. It is appreciated
only by connoisseurs of poetry (I. 7). That poetry and
the word that has the power of suggesting it should be
carefully cultivated ; because tliey are the great pos-
session of great poets (I. 8). As those desirous of light
direct their efforts to the flame of the lamp as the
means by which it can be obtained, so one desirous of
suggested poetry should direct their efforts to the sug-
gested meaning of words (I. 9). As the meaning of a
sentence is understood through the meanings of words,
so the realisation of the desired object, i.e., suggestive
poetry, is understood through the expressed meaning
(I. 10). As the moaning of words, by helping tlie
expression of the meaning of sentences by its inner
power, ceases to have a separate expression after its
function is over (I. 11), so the suggested meaning
flashes suddenly in the mind of connoisseurs which looks
at the real object, not mindful of tlie expressed mean-
ing (T. 12). Where word and meaning subordinating
themselves express something else, that is poetry ;
learned people call it dhvani (1. 13). Where the sugges-
tion is not the principal, but follow the expressed
object as in the figure of speech called samasokti, — that
figure is really an ornament to the expressed object,
CCXXXIV
PREFACE.
clear and simple (1. 14). Dhvani is not there where
there is a flash only of the suggestion, or where it
follows the expression ; it is not even there where it
does not prevail (I. 15). Where word and the mean-
ing after performing their functions stand for sugges-
tion, that is the jurisdiction of dhvani, but it should
not be mixed up with other things (1. 16). Bhakti
and dhvani are not one, because their forms are
different. Dhvani cannot be defined as bhakti on
account of overlapping («?f^5|TfiFr) and falling short (^^Tfn)
(]. 17). That charmingness which cannot be ex|>ressed
in any other way, but which can be expressed by word
full of suggestive meaning, comes within the range of
dlivani (I. 18). Words like lavaiiya are never regarded
as an example of dhvani, though they express some-
thing charming beyond their own meaning (1. 19).
Wlien a word forsaking 'its principal function for the
expression of some ulterior object, expresses its mean-
ing by a. second function, it requires a third function,
too ; for, otherwise, its flow of expression would be
halting (I. 20). The second function depends upon
the principal function; how can that subordinate func-
tion be a definition of dhvani, whose one source is
suggestion ? (I. 21). But, it may be the definition of
certain division of dhvani. If others are anxious to
define dhvani, they support us who try to show that
there is dhvani (I. 22).
There is a good deal of controversy about the
identity of the Dhvani -kara. He is
The Dhvani-USra „ p i i -j. i X i 3
often contounded with Ananda-vard-
hana, who wrote a vrtti on the dhvani-karikas. Earlier
rhetoricians seem all to differentiate betv^een the author
of the karikas and the author of the vrtti. But as
PREFACE.
CCXXXV
time went on, and the historical sense of the Indian
panditas, — specially in eastern India, — got blunted, the
one was confounded with the other.
The karika-kara seems to have preceded the Vrtti-
Ananda.vardhaim, the k-ira hv ii long interval. Tlie karika-
vrtti-knra ia different kara Said, there were people (1) who
from th,. uanua-ka™. Qpposed dlivtiui altogether, ^(2) peo-
pie who gave it a subordinate position, and (3) people
who thought it ])eyond the coinprehensiou of ordinary
men. But the Vrtti-kara splits up No. 1 into three;
(a) Those who considered dhvani to have no
existence. To them the body of ])oetry was
words and meaning, the ornaments were
the figures of speech, and the arrangement
of words was called guna. Along with the
gunas there were some characteristics like
upanagarika, etc. The ritis were also tlier(\
But there were no such thing as dhvani.
(h) If dhvani is admitted as a source of kavya
beyond those already well known, it would
not be kavya at all and it would not
please those who take a living interest in
poetry.
(c) Yasmin-nasti na vastu kiheana manah-prah-
ladi salaiikrti.
vyutpannai rac'd ain ca naiva vaeanair vakro-
kti-silnyain ca yat.
Kavyani tad dhvanina samanvitam iti pritya
prasainsau jado.
no vidmobhidadhati kirn sumatina pistah sva-
rupain dhvaneh.
This says that dhvani is a thing which cannot be
defined, and ridicules the adherents to the theory.
CCXXXVl
PREFACE.
What was one in the Dhvani-kara’s time has
already become three in the time of the Vrtti-kara; —
that shows that the two authors were separated in
time.
The karikas seem to have been written by different
authors at different times; the T)hvani-kara simply
collected them and gave them a shape after adding a few
of his own for the purpose. Up to the time of the Uhvani-
kara, in the treatises on alahkara, we never find the
mention of the two functions of words, viz., abhidha and
laksaiia. But, from the time of Bhartr-hari there was
a good deal of controversy among the grammarians and
among the mimanisakas regarding these two functions.
Anyhow the two functions, denotation and connotation,
were admitted by many schools of philosophy ; and in
philosophy these two were quite sufficient. The third
function, i.e., suggestion or vyahjana or reverberation is a
new idea. It certainly came in after Bhartr-hari in the
7th, and Kumarila and Prabha-kara in the 8th century.
The history of the scholar who brought in this idea, where
it was mooted and at what time, — has yet not been ascer-
tained. Tlie Dhvani-kara at the end of the 8th century
boldly quotes from some previous authority — “ Kavyasy-
atma dhvanih — for it was already — ‘‘budhaih sama-
mnata-purvah’’.
The karikas seem to settle merely the major heads
of dhvani, leaving the arrangement of details to the
commentator. In the first chapter, the Dhvani-kara is
busy with the establisliment of dhvani ; and in the second,
he separates those, so called kavyas, where there is no
dhvani. Many of the karikas in this chapter end with
words like these ;--“nasau margo dhvaner matah,”
PRItFACE.
CCXXXVll
nasyasau gocarali dhvanoh'’, “sa ca na jneyali suribhir
visayo dhvaneh ”, etc. The last verse of chapter II
gives a fine summary of the theory:
“ Sarvesveva prabhedcsii sphutatvonrivabhasanam [
Yad vyahgyasyahgibliiitasya tat purnam dhvani-
laksanam ||
Nothing can be more emphatic.
AnAM n \-VARDTIAN A.
Kalhana’s Raja-tarangim, CJhap. V, verso M, makes
Ananda-vardhana one of the courtiers
lime .md place of Avaiiti-varman of Kasmira who
AnandH-vtU'dhanH.
reigned for ‘^0 years in the second
lialf of the 9th century. Raja-sekhara in his Kavya-
inimainsa, vTitteii in the 1st quarter of tlie 10th century,
mentions Ananda-vardhana by name. This is certainly
quite enough to point out the time of the literary
activity of the Vrtti-kara.
Traditional Ivarikas are always written in elliptical
language leaving a good deal of work to be done by the
Vrtti-kara, Ananda-vardhana’s services as a Vrtti-kara
are manifold : —
(1) He explains the karikas supplying all sorts of
ellipses and sometimes giving a running com-
mentary.
(2) While the Karika-kara is satisfied with the
major heads of classification, the VHti-kara
gives the details and makes the classification
complete in all its parts.
(3) The Karika-kara never cares for examples
which are furnished by the vrtti-kara. It
is a part of his duty to show that the
examples tally with tlie given definitions.
CCXXX viii PREFACE ,
(4) Tlie Vrtti-kura collects all relevant traditions
accruing between the composition of the
karikas and of the vrtti :
(a) 41iese traditions may be given in the form
of karikas by intervening supporters of
the theory, or
(/)) in prose or verse by supporters similarly
situated.
(5) There are certain karikas which are incor-
porated in the main body of karikas as
TI, 18, 19, 20. They seem to be by the
Dhvani-kara himself. But ther(‘ are other
karikas, viz., the pari-kara slokas in p. 34;
they are put in there by Ananda-vardhana.
Ananda-vardliana is a powerful writer. His forceful
argument has made the dhvani theory the foremost
theory in the Alahkara sastra. It has cast into shade
all other theories and shown them in their proper light.
Even, later theories could not make any lieadway against
dhvani. Six centuries later, Visva-nathii points out con-
tradictions in the karikas themselves, but he never says
a word against Ananda-vardhana.
Ananda-vardhana\s father is said to be Nona Pandita
and he wrote two works, viz., Visama-
vana-lila and Arjuna-carita, — both are
cited in the vHti of Ananda-vardhana. He wrote a vivrti
entitled Dharmottama on a work of the Saiva philosophy
the name of which ends with the word ‘ viniscaya.’ He
also wrott‘. a work called Tattvaloka in vdiich he dis-
cussed the laws of kavya and of sastra.
PREFACE.
CCXXXIX
Abiiidha-vrtti-matrka b\ Mukula.
Abhidha-vrtti-rnatrka is neither a work on rhetoric,
nor one on poetics For Mukula
The book. ^
himself says (L. 2438) tliat Abhidha-
vi’tti-matrka pertains to four sastras, viz., vyakarana,
numarrisa, tarka, and sahitya, and through these to all
branches of science; though Biililer takes Mukula’s work
as one on rhetoric. (Kasmira Report, p. 66) (see our
Fatal. No. 4802).
Pratiharendu-raja, the commentator on Udbliata,
was the pupil of Mukula who was
'I'he author and his ago.
the son of Kallata. Kallata, accord-
ing to Biihler, was a great Saiva philoao])her. Mukula
seems to have come a little later than Ananda-vardhana
when the theory of dhvaui had yet not taken root.
Mukula, therefore, takes some trouble in explaining the
fundamental ideas of the relation between words and
their import.
The older rhetoricians do not treat of the functions
of words and of their meanings.
Abhidha-vrtn-matrka, wiitcrs all treat of these
— a reaction against the
dhvatii school functions. riicy became very im-
portant in the 10th and 11th cen-
turies when the dhvani theorists pushed tludi* idea with
great force and thereby produced reaction. One of the
fruits of that reaction is Mukula’s work. Mukula in
this examines the fundamental principles which regulate
words in their meanings. He includes laksana, too, in
abhidha ; for he says, the functions of abhidha are two-
fold, the direct and the indirect. Both these functions
lead to the understanding of the import of words.
Therefore, there should be a differentiation between the
two, — though in reality they are one
ocxl
PREFACE.
Thin worlc has 15 karikas by the author himself
with their prose explanations. In
Mukuia. thoHe Mukula establishes abhidha
only and thereby opposes Ananda-
vardhana’s dfivani. Mammata, therefore, thought it just
and necessary to refute Mukula’s idea and so he wrote
a work entitled Rabda-vyapara-vicara in which he es-
tablishes three distinct functions of words, of which the
last is dhvani (our Catal. Nos. 4853 and 4854). He
says that the function of dhvani cannot be served by
abhidha, because sabda functions only once. It cannot
go hopping, giving one meaning now and another a little
later; therefore dhvani is a distinct function. Both
Mukula’s and Mammata’s works have been published
by the Nirnaya-sagara Press, Bombay.
AinriNAVA-GUPTA.
The Kasmira Raiva scliool was founded in the middle
of the 9th century by a great thinker
nava-gupta, reformer named Vasu-gupta. He
was followed by Bhattotpala who
again was followed by Indu-raja and Tauta. These two
were the gurus of Abhinava-gupta who was a volumi-
nous writer of the Kasmira Saiva school. But we are
not concerned with that school which was founded on
the tantras current at that time. We are here concerned
with his works on rhetoric. His first commentary,
Abhinava-bharati, is on Bharata’s Natya-sastra, and the
other is on the Hhvanyaloka, called the °Locana. He
himself tells us tliat he wrote a vrtti on Isvara-pratya-
bhijna in 1015 A.D. and that his Krama-stotra was written
in 991 A.I). “From Abhinava-gupta’s remarks at the end
of his °Locana commentary on uddyotas i and iii of the
PREFACE.
ccxii
Dhvaiiyaloka, it appears that the study of this famous
work was traditional in his family, and his own com-
mentary was composed as a rejoinder to another, called
the Candrika written by one of his predecessors in the
same gotra; and four times in his "Locana (pp. 123,
174, 185, 215) he discusses or controverts the views of
this earlier commentaXor, who is specifically referred to as
the Caiidrika-kara at pp. 174 and 185.” (Dr. De in his
Sanskrit Poetics, Vol. T, p. 105.)
It is in controverting the views of Candrika that
the °Locana was written, for says Abhinava at the end
of the 1st uddyota : —
'‘Kim locanam vina loko bhati caudrikayapi hi |
Tenabhinava-gupto’tra locanonmilanam vyadhat H
Ananda-vardhana is said to be the founder of
the dhvani school. No one grudges
* „ „ the credit given to him lor clearing
navu-gupiu in liiially ®
cstabiiyhing the dhvuni up that tlicory aiid making it tlie
highest theory in Sanskrit poetics.
Ui9 commentary on j j i ' j* a t i •
DU . , XT-. . Put the services ot Abhmava-gupta
Bharata H Natya-Hastru. ^ t
are invaluable to the theory. The
dhvani theory requires for its complete recognition the
theory of rasa. Abhinava, therefore, took the precaution
of writing a commentary on Bharata’s Natya-sastra, the
central idea of which was rasa. Bharata’ s rasa is con-
fined to drama. Its main object was to train the actors
how to express the rasas clearly by four kinds of acting.
The idea of rasa entered very late in the fields of rhetoric
and poetics. Therefore, for the purpose of explaining,
elucidating, and realising the dramatic rasas he wrote
the °Bharati on the Natya-sastra and then took up the
dhvani theory in which rasa plays a very important
ccxJii
PREFACE.
part. He, in fact, brought in a liarmony between the
profession of actors and the profession of poets. I use
the word profession advisedly; because poetry was all
along a profession and is still so in the feudatory States
of India. In the commentary on the Hhvanyaloka the
services of Abhinava-gupta are more in harmonizing
the karikas and the vrtti than in harmonizing poetics
and dramaturgy. In many places he has pointed out
the difference of ideas between the karikas and the
vrtti and reconciled them. He has also explained tlie
celebrated Bharata-sutra on i^sa-nispatti in a way that
one may apply it both to drama and to poetry. His
extensive learning was very useful in giving the history
of controversies in the matter of rhetoric; and poetics.
In subsequent literature he is every where spoken with
deep reverence whether the author agrees with him
or not. He has shown that the dhvani theory eluci-
dates all other theories of rhetoric, specially the theory
of rasa which he has pointed out as the principal thing
in dhvani. Kor, what is rasa? It is simply dhvani,
suggesting things not expressed, so rapidly that the
steps by which the suggestion is made are imperceptible.
Ananda-vardhaiia boldly made an attempt, but Abhinava
made the attempt successful.
Vakrokti-jivita by Kuntala,
The revolt against the dominant dhvani theory sup-
ported by the Dhvani-kara, Ananda-
Kuntaia’s work is „ revolt Abhinava-gupta, and Mam-
against the dhvani school. r >
mata, — was led by two men ; viz.,
Mahima-bliatta in his Vyakti-viveka, and Kuntala in his
Vakrokti-jivita. Of these two, Kuntala is the earlier.
The latest author whom he quotes is Raja-sekhara (Edn.
PREFACE.
ccxliii
De, p. 71), and the earliest author by whom he is quoted
is Mahima-bhatta.
Raja-sekhara’s date is well known ; he flourished in
the first quarter of the lOtli eentury ;
Age of Kuiitaia. Mahima-bhatta towards the end
of the 11th century. Kiintala may be a younger contem-
porary of Abhinava-gu pta ; and an elder contemporary
of Mamniata.
i)r. S. K. De has done a great service by bringing the
work of this powerful though obscure
Dr. S, K. J)e'H ed.tion of
Vukiokti-iFvito.
rials available x^ermitted. About the
author Dr. De says, “ lie (Kuntala) writes in his vrtti in a
lucid, concise yet vigorous style, and his choice of exam-
ples, testifying to his wide reading in literature, is judi-
cious. He refuses in most cases to move along conven-
tional lines and cite conventional illustrations. Whatever
value may be attached to his somewhat extreme theory
Vakrokti as the essence of poetry, and of his strange
classification and nomenclature, there can be no doubt
about the originality and freshness of his outlook, about
his literary acumen and critical insight into the artistic
requirements of poetry and about the many stimulating
suggestions with which his work abounds and which have
been in many cases developed by later theorists ” (De,
Introd. fix). I fully agree with Dr. De.
It is a pleasure to read through his book. Its lucidity
and freshness are apparent even to
Vakrokti. glances through it. He was
a thinker, and an original and bold thinker. Authorities
ccxliv
PREFACE.
did not much influence him. But ho belonged to the old
school of alahkara theory. He did not give any prom-
inence in his work to the three functions of words, viz,,
denotation, connotation, and suggestion. He did not give
any prominence even to rasa. He accepted indeed the liti
theory but altered it beyond recognition. His definition
of Kavya is the same as those of other alankara theorists,
viz,, words and their meaning together (sabdartha) consti-
tute Kavya. But they should be in a piece of composition
to which he gives two adjectives: (1) vakra-kavi-vyapara-
.^alini, and (2) tad-vidahlada-lferini. The meaning of these
adjectives is tliat the composition should be delightful to
tlie connoisseurs of poetry, and that it should be striking
owing to the genius of tlie poet. Here he discards the
usual limitations of the old supporters of alankara theory ;
and brings in two ideas, strikingness and delight. The
word vakrata he explains by a number of words. It
means vaicitra, vicchitti, cariitva, camatkara, and so on.
But he takes the words sabda and artha not in the ordinary
sense, but in a peculiar poetical sense (De, L 9 ),
The central idea of Kuntala is vakrata. He says,
both words and their meanings constitute the body of
Kavya which are to be decorated by the poet. But the
decoration is vakrokti only, and the meaning of vakrokti
is vaidagdhya-bhangi-bhaniti, i,e,, the expression of pecu-
liar charm by the action of the poet.
Some rhetoricians think that svabhavokti or plain
narration is an alankara, what is then to be decorated ?
Without svabhaba there can be no subject of poetry.
The subject then should be without svabhava, i.e., some-
thing beyond description. If the body is the decoration,
then one rides on the shoulder of himself.
PREFACE.
ccxlv
The poetic vakrata may be of nix kinds (1) tlie
strikiimness of arrangement of letters,
Diviaioii of Valcrokti. -x i -i • <• i
(2) th(^ strikingness oi the nrst part
(i.e., prakrti or dhatu) oi‘ a word, (3) the strikingness of the
second part {ij\. suffixes) of a word, (4) the strikingness of
vakya or sentence wiiich is of thousand kinds and in which
all file alahkarss are included, (5) tiie strikingness of a
prakarana (/a., })art of <\ great work), a,nd (6) the striking-
ness of the whole poem.
The vakrata or strikingness is taken by Kuutala as
the underlying principle on which all the figures of speech
are based. It is something like a genus from which all
species, sub-species, and individuals of alahkara proceed.
Vakroktih sakalalamkara-samanyam ” tMtn. De, I. 3L)
The idea is taken, 1 believe, from the Vaisesika idea of
samanya on the top and visesa at the bottom, all inter-
mediate species coming in the middle.
Kuutala depreciates the use of the word riti and the
division of ritis according to countries.
Knntalu’a lilea of nth
If the ntis are peculiar properties of
countries, why should they be divided into three ? There
are innumerable countries and therefore the ritis also should
have been innumerable. He names the ritis as Kavi-
prasthana-hetavah, i,e., the roads by which the poets go.
They are (1) mellow, (2) variegated, and (3) pertaining the
nature of the two. ft is patent that the prast lianas are
really two, the other is merely a mixture. The mellow
division of vakrata has four characteristics : (1) sweetness
(madhurya), (2) lucidity (prasada), (3) effulgence (lavanya),
and (4) nobility (abhijatya). The variegated and the
mixed divisions also have the same four characteristics,
but they are differently defined by the author.
ccxlvi
PREFACE.
Besides these four characteristics, there are two
more which pertain to all the prasthanas. They are
aucitya (propriety) and saubhagya (good luck). These
two are conspicuous in all the three prasthanas, and they
are still more conspicuous in words, sentences, and poems.
Vakrokti is essential in
(ill the alatnkaras.
Vakrokti-iiviin. is the
isolated attempt of a
great thinker.
This is the framework of Kuntala’s treatise. He
has subordinated the dhvani to it, —
dhvani in all its varieties, vastu-
dhvani, rasa-dhvani, and alahkara-
dhvani. Of the numerous alahkaras,
he rejects some as having no vakrata
and admits others as having vakrata. In the matter of
rejection he is almost merciless. He rejects many of the
favourite figures of speech of his predecessors. Though
his main theory of vakrata has not been accepted by
any of his successors, they have generally accepted his
sclieme of alahkaras. His sympathies were all with the
ancient rhetoricians, whose scheme of discipline did not
go beyond the range of words, their import, and short
compositions in prose and poetry. But when larger
works began to be written, and there was need of some-
thing higher than the discipline of rhetoric, the
dhvani theory philosophically and practically appeared
to meet the requirements of the existing literature,
Kuntala appeared at this time and made a generaliza-
tion of all the alahkaras and set the vakrata theory as
a rival to dhvani. Philosophically it did not satisfy
the requirements, and practically it failed to attract. So
it remained an isolated attempt of a great thinker.
The work is divided into chapters called unmei^as.
An abstract of the first unmesa is
Contents. . -i mi
given above. The second unme^a
treats of the strikingness of the arrangement of letters,
PREFACE,
ccxlvii
of prakriti (stem) of pratyaya (suffixes) and the third
unmesa treats of vakyas or sentences. Dr. De could
not finish the edition with the 3rd unme^a for want of
good materials. But he has given the resumee of the
third unmesa. The resumee of the fourth treats of the
strikingness of prakaranas, and I believe, in the same
unmesa, the striking ness of pravandhas is also treated
of. Pravandhas may be taken from tradition or history
or may be original. This is the only work in Sanskrit
literature in which criticism of the entire poem is aimed
at.
Dasa-rOpa by Dhananjaya.
Dasa-rupa is a work on dramaturg}^ written by
Dhanahjaya, son of Visnu, and com-
Age of Dhananjaya. *' ,, , . ,
mented upon by Dhamka who is also
said to be a son Visnu. The author and the commentator
look like brothers. Both of them flourished at the Court
of Dhara. The author lived under Muhja, the uncle of
Bhoja, and flourished at the end of the 10th century (from
974-995). Muhja had many viruds, such as Vak-pati-raja,
Utpala-raja, Amogha-var^^a, Prthvi-vallabha, Sri-vallabha,
etc. It is well-known from books and inscriptions that
he defeated the Calukya King Tailapa II six times; but
in the 7th encounter in 995 he was defeated, taken a
prisoner, and executed.
The work Dasa-rupa is based on Bharata’s Natya-
sastra. But it is strange that Dha-
Bharata nanjaya does not name any work on
dramaturgy written during the period
intervening between him and Bharata, though he quotes
a number of dramas and kavyas and some works on
rhetoric. The object of writing the book is to give a brief,
succinct, and clear abridgment of Bharata’s Natya-sastra.
ccxlviii
PREFACE.
Dliananjaya speaks only of ten rupakas. In the
beginning lie makes a distinction between nrtya and
nrtta; the first is emotional and the seconil is external.
Tliey are both useful to a drama. The subject of nataka
may be of two kinds: — the main and the occasional.
The main subjerh runs throughout the work and the
occasional when occasion arises;— as in the Tlamayana.
the story of Rama is the main and that of kSu-griva is
occasional. The subject of drama may be well known,
may be an invention of the poet, or may be a mixture
of tlie two.
In a drama the plot has five elements: (1) the Germ,
(2) the Expansion, (3) the Episode,
Tho translation j Episodical iiicidcnt, and (5)
technical terms are taken _ '
from Haas’s i^asn-rnpa Denouemcnt. The actioii also has five
stages: (1) Beginning, (2) Effort, (3)
Prospect of success, (4) Certainty of success, and (5)
Attainment of success. The five elements of the plot-
acting in (concert with the five stages of the action give
rise t-o five junctures which connect one thing with
another in a single sequence. The five junctures arc:
(1) Opening, (2) Progression, (3) Development, (4)
Pause, and (5) Conclusion. Each of these dramatic
properties has many subdivisions and they take nearly
the whole of the first book of the Dasa-riipaka.
The subject-matter in a drama is of two kinds — one
to be suggested and the other to be seen and heard.
That which is dry but at the same time necessary, is to
be suggested and the rest to be acted. The suggestions
are five. They are the Intermediate scenes, viz., the
Explanatory scene (viskambhaka), the Intimation scene
(culika), the Anticipatory scene (ankasya), the Continua-
PREFACE.
ccxlix
tion scene (ankavatara), and the Introductory scene (pra-
vesaka).
On another principle the subject is again divided
into three parts. That principle is natya-dharina (dramatic
rules). The first is to be heard all (prakasam), the second
not to l)(‘ heard al all (svagata), and tlie third is split
up into two -Personal address (janantika) and Confiden-
tial address (apavarita).
Book 11 of Dasa-rupa is taken up witli the class! -
filiation and characterization of heroes and heroines.
Witli the characterisation of heroes come in the styles
of ])rocedure which is based on their conduct. These
si vies are four in number: (1) Oay style (kaisiki), (2)
Crandiose style (sattvati), (‘^) Horrific style (arabhati),
and (4) Eloquent style (Bharatl).
Book 111 treats of natakas. In tiie beginning of the
chapter, there is a detailed description of Purva-ranga,
i.e., ])reliminary to the beginning of the drama. Then
come the ten different classes of natakas. Here tin?
natakas are only ten as in Bharata.
Book IV treats of the rasas and the bhavas with
their accessories and accompaniments. These arc also
taken mainly from Bharata.
It is a curious question how the Agni-purana and
fSahitya-darpana got the 27 and 28
tonilr ' or^Luvur ll forms of nataka. The sources of the
aguinst 27 of the Agni- later 18 foims liavc not yet been
p„rana»mi2HofSah,t.va. discovered. Dhanafijava gives only
darpana.
one form more than the ten, and
ccl
PREFACE.
that is the natika. By that lie indicates other forms
also which he does not approve: — “ Samkirnanya-nivrt-
taye,” i.e., for discarding other miscellaneous forms.
Bhava-prakasa of Sarada tanaya treats, however, of
thirty forms of dramas and gives their descriptions, differ-
entiations, and illustrations as we will see later on. It is
a very recent publication in the Gaekwad series and it is
dated in the later half of the twelfth century.
BiIOJA-RAJA’S SARASVATI-KAI^'THABUAriANA AND
Srngara prakasa.
Maharaja Hhoja, lord of the city of Dhara, is a great
personality in Indian literature, both
Bhoja— King of Dhara. i. i . .
as a writer and as a patron of letters.
He was the 9tli King of the Paramara dynasty of Dhara,
the son and successor of Sindhu-raja and was a nephew
of Vakpati-raja. Ho flourished in the flrst half of the
1 1th century A.D., and has left numerous inscriptions
to certify his date. So it is useless to write dissertations
about his age. .
His Sarasvati'-kanthabharana is a wonderful produc-
tion. It is full of originality, and
Saiahvati-kanUiabhar- everything dealt with here is on an
imperial scale. Bhoja is an alaflkarika.
He thinks that the dosa, guna, and alahkara are all that is
required for a good poem ; and if rasa is added to it,
the poet becomes famous. With this preface, he goes
straight to the do§as. The dosas concern words. He
gives the definition of each of the do§as with its varieties
and finds illustrations for them from the literature, a
vast number of works of which, was accessible to him.
Having finished the dosas of words, he deals with those of
PREFACE.
ccli
sentences. After that the gunas are enumerated. Each
illustration is carefully compared with the definition and
notes are given with the view that the definition and
illustrations agree.
SabfialntnkarftH ill Siu as.
vati"
The second chapter begins with the alahkaras. The
sabdalahkaras are sometimes two and
sometimes four, but Bhoja makes
them 24, -many with numerous varie-
ties, and the author finds apt illustrations for each. His
first verbal figure is jati. It means tlie appropriate use of
languages considering the status of the speakers. Tliey
can use each dialect in its pure form or may use words
common t o more than one language ; or may mix up
sentences of different dialects; or may mix up words
of different languages like sesame and rice ; or may
use extraordinary sentences of different languages or may
use sentences of the corrupt speeches. All these Bhoja
treats as sabdalankara which none else has ever done.
All the 24 verbal figures arc rather curious. Their
names will shew how they differ from those enumerated
by other authors. They are: (1) Jati, (2) Gati, (3) Riti,
(4) Vrtti, (5) Chaya, (6) Mudra, (7) Ukti, (8) Yukti, (9)
Blianiti, (10) Gumphaiia, (11) Sayya, (12) Pathiti, (13) Ya-
maha, (14) Slesa, (16) Anuprasa, (16) Citra, (17) Vako-
vakya, (18) Prahelika, (19) Gudha, (20) Prasnottara, (21)
Adhyeya, (22) Sravya, (23) Preksa, (24) Abhimti.
Similarly, there are 24 varieties of arthalahkaras and
as many of combined alahkaras. (Chaps. Ill and IV.)
The fifth chapter is devoted to rasa, — mainly on the
Srhgara-rasa. At the end of the work we have this : —
cclii
PREFACE.
Catur vargaplialain prav^aiidhe ko va na vandha-
viyati ity aiiena srotrniaip Raniadivad vartitavyam, ua tu
Rivaiiadivad iti vidhi-nisedha-nivandlianasya pravaiidha-
sya abliistatauiatvaai akliyayat<‘.” —pp. 381.
This sentiment is echoed in the opening lines of the
Kavya-prakasa, the author of wliieh was eithc*!’ a eontem-
porary of, or came sliortly after Biioja.
Tlie whole of tl\e 5th eha]>ter is devoled to iSrngaia-
rasa. Tlie raja lakes care 1o define
Contents of Chnptoi \' ^ i •
tlie 49 hhavas ot Bharata and gives
exain])]es, at ttu^ same time jiointing out how they help
in the development of rasa. Along with rasa he defines
and illustrates rasahhasa, the semhlanec^ of iestlietic
phuisure, bhavabhasa, the semblam^e of emotion, bhava-
saiiti, the disappearance of emotion, bhavodaya, the rise
of emotion, bhava-sandhi, the blending of emotions, and
bhava-savalata, the play of many emotions. He goes to
the minutest details as regards tlie oondilions of the mind
in various rasas. In his Sarasvati" and specially in his
Snigara-prakasa, he says that Srngara is the only rasa,
others are tolerated simply because they are supiiorted
by tradition. He (annpares them with vata-yaksa. People
have a notion that this vata (Indian fig) tree is resided b}-
a yak^a or goblin but there is no evidence for it. The
yaksa really does not reside there: it is a wrong notion of
the people. Ho Bhoja thinks the other rasas to be mere
vata-yaksas, or as non-existing.
Bhoja has, as 1 have said before, 24 vaiaeties of sabda-
lahkaras, while some rhetoricians restrict them to two,
three, or four. In one of these 24, he has included the ritis.
(cf. the theory of Varna na andRudrata, that riti is the soul
PREFACE.
ccliii
illti dealt with in Saras-
vati
of Kavya). He says that it is a riior(‘ sabdalankara. He
also includes in one of his sabdalahka-
ras the dramatic functions or vrttis,
salvati, kausiki, bharati. and arabhatl.
The use of (liiterent dialects by men in different positions
in life, he considers 1o be one of the sabdalankaras. The
i)i()d(‘ of ]*eadin^ poetry as rapid, slow, a,nd middling, is
also ijiciuded in the sabdalaitkara. At the end of chapter
\', Iffioja treats of tlie nivandhas, /ac, maha-kavyas,
tlradiias, etc., and talvos considerable pains iji ('lucadating
t hern.
In his Sanskrit Poetics, Dr. S. Iv. Desays, “Sarasvati"
is a patient comj)ilat ion in an encyclopeadic manner from
earlier treaties, specially from Dandin, from whom he
takes. ac(*oidiiig to the calculation of Jacob, no less than
IIH illuslratiojis. From the index of citations given by
bicob, we find that Vamana is quoted 22 times, Rudrata,
1!) times, Dhvanyaloka, more than ten times.”
Th(‘ sdine authority says. “The chief value of Bhoja’s
woi'k consists in its abundaiit wealth of illustrations and
examples, numbering about 1,500 io (‘very rule and
prescription.” (Sanskrit Poetic's, pp. 148, 140.)
The Sri'igara-prakasa of Bhoja is one of the largest
wmrks in Sanskrit rhetoric. Its name
Hih Snigara-piakns i i i
was known long ago, but the work
was lost to the world until recently. His Holiness Sri
Yatiraja Svami of Yadu-giri in Mysore came across a small
fragment of this voluminous work. But the credit of the
discovery of a nearly complete MS. belongs to the peri-
])atetic party of tlie Government Oriental Library, Madras,
in 1919. The Yati-raja has publislmd three out of thirty-
six prakasas of this work. These three are : —
ccliv
PREFACE.
(22) Anuraga-sthapana,
(23) Vipralambha-samblioga-prakasana,
and (24) Vipralambha.
Yatiraja has given the opening and concluding lines of
al] the prakasas tliat are extant. From these we find that
the first eight prakasas are devoted to words, — their de-
notation and connotation. The dosa, guna, and alankaras
occupy the next two prakcisas. The 11th prakasa speaks
of the ]>resonce of rasa (in pravandhas). The 12th prakasa
treats of the four sets ef the 64 angas of a pravandha.
The 13th speaks of rati, the I4t]i, of harsa, etc. The 15th
prakasa speaks of the support of rati, the 16th, of the^
excitement of rati, and tlie 17th, of the effect of rati.
I^Yom the 18th to the 21st, 4 prakasas are devoted to
dharma, artha, kama, and moksa sntgaras respectively.
The 22nd, 23rd, and 24th prakasas arc already described.
Three prakasas, from the 25th to the 27th, are lost in
the lacuna. The 28th prakasa deals with duta-karma,
the 29th, with efforts of union, the 30th, with jealousy,
the 31st, with absence, and the 32nd, with the pitiful
condition. The 33rd prakasa gives the meaning of sam-
bhoga ; the 34th speaks of the first effort of love, the 35th
deals with reconciliation after jealousy, and the 36th treats
of union. In the 22nd prakasa, the author says that there
are 64 phases of anuraga, and at the end of it he says that
there are altogether 12,288 sub-phases of it.
The last two verses of Sarasvati° and of the Srhgara-
prakasa are identical, showing that they are by the same
author. The »Srhgara-prakasa seems to be later than the
Sarasvati-kanthabharana because in the former his idea
of one rasa is more developed and decided than in the
other.
PREFACE.
cciv
Onp;iii of the idea of
aucitya.
A^e of K'^emoridra
Aucitya-vicara-carca by Ksemendra.
As Kuntala makes vakrata the life of poetry,
so Ksemendra makes aucitya or pro-
priety the eternal life of poetry. At
the outset Ksemendra states that he
has written another book on Kavya
and alankara, in that he has described the gui.ias and
the dosas. The name of the book is said to be Kavi-
karnika. The idea of aucitya he has certainly taken
from Kuntala, who at the end of tlie first unmesa of
his Vakrokti-jivita, speaks of two general characteristics
of alankara, viz., aucitya and saiibhagya: and now
comes Ksemendra to give aucitya the place that Kuntala
gave to vakrata. At the end of his Aucitya-vicjxra-carca
Ksemendra says that he wrote the work at the time of
the Kasmira king Ananta-raja, who reigned in the middle
of the 11th century.
It is well known that unlike other Sanskrit authors
Ksemendra gives a good deal of information about him-
self. At the end of his AucityS, he gives the name of his
father as Prakasendra at whose house sacrificial sessions
were continuous. He consecrated at the temple of Sva-
yambhu a circle of matrs on its wall and gave much wealth
consisting of land, deer-skins, and houses to the Brali-
manas and breathed his last there. His son, Ksemendra
with the title ‘ Vyasa-dasa,’ writes this new work Aucitya-
vicara-carca. It was written for the benefit of Udaya-
simha, the son of Ratna-simha, who had ascended
heaven.
Figures of speech and rhetorical excellences are wortli-
less if they are not properly used. The propriety is the
life of poetry in everything — in words, in sentences, in
0 (ilvi
PREFACE.
poems, in excellences, in figures of speech, in cases, in
genders, in numbers, in adjectives, in
Nume of Homo unknown prefixos, ill particles, in tenses, in coun-
poets (juoted by Knenion-
(i.a in Ins Aucitya/ tries, 111 lamilies. 111 rcligious ceremonies,
in philosophical doctrines, in motive,
in nature, in abstract, in genius, in condition, in contrO'
versies, in substantives, and in benediction. He gives
(‘xamples of each of these and also examples of tii(^ impro-
per use of these. In quoting illustrative verses, lie quotes
tlie names of many jioets who ,ire not known. Ho quotes
K ili-dasa with approval, but, quotes Raja-sokhara with
disapproval. Ho quotes his npidhyaya, (laugaka Of t he
unknown poets, the following may be quoted: (1) Dhar-
ma-Kirti, 11. (2) (/andraka, 14. (3) Malava-riidra, ir>.
(4) Karjiatika, 15. (5) Syamala, 16. (6) Pravara-
seiia, 16. (7) Princp Mukta-pida, 16. (8) Utpala-
raja, 16. (9) Amaraka, 18. (10) Gauda Kumbha-
kara, 20. (11) Bhatta Prabha-kara, 20. (12) Bhatta
Lattana, 23. (13) Sri-cakra, 25. (14) Malava-Kiivalaya,
26. (15) Bhatta Bhallata, 26. (16) Yaso-varma-deva,
2S. (17) Varaha-mihira, 26. (18) Dipaka, 29. (19)
Bhatta Tauta, 3.3. (20) Pari bra jaka, 34. (21) Ga hgaka,
39. (22) Kumara-dasa, 24.
Kavi-Kanthabharana by Kseniendra is a work on
Kavi-siki^a or training of poets. In
Kavi kaiit Imbhai ana. a .1 i 1 f ^1
. . , the second verse he says, tor the
bf»ok on tho training of
i),,etH. training of disciples and for the ad-
vancement of trained poets, K.semen-
dra writes this substance of iSarasvati. He mentions
live stages of this training: (1) the acquisition of
poetic powers by one who is a novice, (2) the train-
ing of a poet who has acquired some powers, (3) the
strikingness of expression acquired by training, (4) the
PREFACE.
cclvii
discrimination of defects and excellences of poetry, (5)
acquaintance with the ways of the world,
(1) One who has not acquired the powm' of writing
poetry, should endeavour to obtain it
C()titeni8 ^ \
by divine favour and by his own
exertions. Tlie divine aid need not be expatiated upon.
As regards the poet’s own exertion, there are three classes
of a])prentices : (1) those who learn quickly, (2) tliose
who learn after long training, and (3) those who never
learn. The choice of the preceptor is a great thing in
this department of study. The controversialists and the
grammarians shmdd be carefully avoided. The disciple
should study with attention poems sweet and charming.
He should give his ear to songs, recitations, poems in
the vernaculars, and he should form his taste for striking
words, and hear with delight, identifying himself with
every jesthetic enjoyment if he w^ants to a^cquire poetic
skill at all. The second class of disciples should read the
whole works of Kali-dasa and should read history. He
should avoid by all means even the odour of contro-
versy. He should take old verses and try to give them a
new turn; drop words and phrases, and put in new
ones for them. But the third class of disciples would
never be poets. The ass will ever bray and never sing.
The second class of disciples should imitate old poets, take
words from old poets and write verses, take padas or
quarters from them and utilise them in their verse, take
a short piece as a whole and write a new poem upon
it. This will give them facility in writing.
After acquiring facility, the disciple should observe a
hundred duties regulating his whole life for being a poet. In
this there are regulations of food, regulations for acquir-
cclviii
PREFACE.
ingr uniform health, and so forth. He should not be
dependent on another, should not boast of his powers
and listen with attention other people’s boasting.
In the third stage, he should acquire strikingness
of expressions which is of ten different kinds: (1)
♦ harming without- reasoning, naturally charming,
(2) charming with reasoning, (3) charming in its entire-
ty, (4) charming in its parts, (5) charming in words,
(6) channing in meaning, (7) cliarming both in words
aud meaning, (8) charming in figures of speech, (9)
charming in rasa, and (10) ‘charming in well-known
function.’
Tn the fourth stage, is the acquisition of writing
faultless words, faultless meaning, and faultless rasa
and the avoidance of defective words, defective meaning,
and d('feotive rasa.
Jn the fifth stage, he should acquire mastery over
(controversy, grammar, Bharata, Canakya, Vatsayana,
the Mahabharata, the Ramayana, theories of liberation,
knowledge of self, knowledge of metals, testing of
jewels, medicine, astronomy, archer}^ testing of horses,
elephants and of men, in gambling and in sorcery, in
painting, in geography, in botany, in ethnology, and in
miscellaneous matter.
K^emendra ends this book in Buddhist fashion by
dedicating the merit of writing it to
the benefit of intending poets. He is
said to have written it during the
reign of Ananta-raja, a king of Kasmira, who was an
avatara of Vi^nu. He mentions one of his disciples
Unknown poets in the
Kavi-kapth5bharapa.
PREFACE.
cclix
named Bhatta Udaya-simha wlio wrote a book called
Lalitabhidhana V. 1. He speaks of some poets un-
known to us. He had another disciple who was a prince
Lak^manaditya by name (V. 1). Among the unknown
poets the following may be mentioned : Vidyananda,
Bhatta Vacaspati, V. I, Biva-svamin, Indrabhtou, minis-
ter to king Bhima-Sahi, Mukta-kana, and his brother
Cakra-pala, II. 1, Arya-bhatta, II. 1, Mukti-kalasa, V.
1, Damodara-gupta, V. 1.
VVAKTI-VIVEKA BY MaIIIMA-BIIATTA.
ti'ttdujbion against the
dhv'’aiii theory.
In his Vyakti-viveka. Mahima-bbatta criticises the
theory of dhvani and sets up a new
Vyakd-vivoka— a con- theory ill which aiiumana plays a
prominent part. The anumana theory
of rasa is attributed by the Dhvani-
kara and Mammata to iSahkuka. Perhaps Mahima has
taken the cue from him, but Mahima does not mention
him and claims originality. So Mahima-bhatta and
Kuntala led the way against the dhvani theory. But
they both shared the same fate, that is, complete oblivion.
Mahima-bhatta was a rajanaka and so was a
Kasmirian. His father’s name was
Date and place of gfj.^JJjairya and llis gUrU was SrJ'
syamala, quoted in Aucitya-vicara-
carca. Mahima-bhatta quotes from Ananda-vardhana,
— and even from Abhinava-gupta, and is quoted and
criticised by Rucaka. The anonymous commentary on
Vyakti-viveka, printed in the Trivendrum Sanskrit Series
is perhaps by Rucaka. Therefore, he comes between
Abhinava-gupta and Rucaka, and so may be placed
somewhere in the 1 1th century.
cclx
PRKFACE.
Saliitya-darpaiia in the 14tli century quotes from
Vyakti-viveka to the effect that there can l)e no differ-
ence of opinion as regards the soul of poetry being rasa,
etc. So evidently Maliima accepted the dhvani theory
but explained it in a different way.
Mammata’s Ivavv a-pkakasa.
The most popular work on the dhvani theory is,
however, Kavya-prakasa by Mam-
Date of Mainnmta. niata Bhatta wiittcii ill th(^ 2nd half
'uZX.'*"’ llt,h .oaLury.-as Bhoja, M.e
king of Dhara, has been mentioned
in it as a recent person. Mam niata, it is asserted in
the Kasmirian tradition, wrote up to the* Parikara
alahkara and the rest was written by Allata. But,
some scholars find traces of collaboration of Allata in
other parts of the work also.
Though Mammata is an out and out support(U' of
... the dhvani theory, he had not the
Hts (ieniiitioii of Kavya,
courage to say, Kavyasyatma
dhvanih.” His definition of kavya is that of the old
rhetoricians. He says, Tad a-dosau sabdarthau saguna-
vanalanikrti punah kvapi,’' l,e,, he stuck to the old
definition of the old rhetoricians like Dandin, Bhamaha,
Vamana, and others. He seems to be bent on har-
monizing the definitions of rhetoricians and poeticians.
Anandavardhana is unwilling to call a piece ‘ kavya ’
which has no dhvani. But Mammata is willing to in-
clude pieces without dhvani within the meaning of the
word kavya.
It is in Kavya-prakasa that we find for the first
time the three functions of words distinctly and clear-
PREFACE.
cclxi
The three functions
of words clearly stated.
ly stated in Ullasa II. From the time of Bhartr-hari in the
early 7th century, the first two func-
tions of words, viz,, abhidha and
- laki^ana, were acknowledged by all
writers on philosophy. The two schools of Mimamsa in
the 8th century took different views of the relation between
words in a sentence. One said that the words expressed
their meaning and the relation came in afterwards. The
other said that the meaning came in, as related. The
rhetoricians seem to favour the former
theory and not the latter. It is from
the idea of this relation that the rlietoricians came to
the theory of dhvani, or suggestion or better still, re-
verberation. In the 3rd Ullasa, Mammata speaks of the
suggestive meaning as coming from the other two mean-
ings. The suggestion comes only to those who are ac-
customed to study kavya.
Ulltisa III.
The 4th Ullasa is prefaced with the remark that the
dosas, gunas, and alamkaras should
Ullasa IV. . r. , ■ .
come m after the words and their
meanings have been treated of. But the author postpones
their consideration for giving a full treatment to kavya.
Therefore, in this chapter, he gives the classification of
kavya.
Explanation of the
suggested meaning.
The suggested meaning, he says, may come direct
from the ordinary meaning of words
or from their secondary meaning. If
it comes from the secondary mean-
ing, the ordinary meaning may be either neglected or
altogether discarded. But when the ordinary meaning
is expressed and then comes the suggestion, it may come
either (1) gradually or (21) at once; i.e., (i) when the steps,
cclxii
PREFACE.
by which the ordinary meaning develops into suggestive
moaning, are traceable, and (ii) when they are not trace-
able. The last is the most important feature of the sug-
gested, or reverberated, meaning. One sees a dramatic
performance, or reads a poem, tears trickle down from
his eyes or he is susceptible to different emotions. How
could these changes take place ? They take place
certainly by seeing the acting or reading the book ; but
they (*,omc so impcrceptivoly that you do not even with
effort not(^ the steps. These imperceptible changes in
jpie mind of the audience or of the reader are rams.
Here we get the reasons or causes of the lesthetic enjoy-
ment of poems and dramas. This is the juost important
explanation of iesthetic enjoyments in Sanskrit })oetics.
Bharata perceived these aesthetic enjo;?^ments, gave their
minute classification, and gave minute directions to the
actors as to how to express tliem and how^ to dcveloj)
them. The old school of rhetoricians, Dandin, Bhamaha,
and others, did not attach much importance to them
and left them to dramatists. When first the rasas were
transferred from drama to poetry we (uinnot say. But
it is certain that this transfer led to the theory of dhvani
to explain the origin of rasa.
The celebrated Sutra of Bharata imbedded in the
6th Chapter of Bharata’s Natya-
s. sastra, comes in here in the Kavya-
prakasa for a fuller treatment. The
editor, Mr. Jhalklkar, says that there w^cre four comment-
ators on the Natya-sastra : (1) Bhatta Lollata, a
Mimamsaka, (2) Sri-samkuka, a Naiyayika, (3) Bhatta
Nayaka, a follower of Samkhya, and (4) Abhinava-gupta,
an Alamkarika. The first is called the utpatti-vada or
abhivyahti’Vdda or pusti-vdda; the second is called the
PREFACE.
cclxiii
anamiii'Vada; tho third is the hhukti-vada and the
fourth, the dhvani-vMa. Mammata accepts this last
and eulogises this in the highest terms.
Mammata here (explains all *the rasas, bhavas
(sthayin, vyabhicarin, and sattvika) and their rise, fall,
mixing up, etc.
Tliea Mammata proceeds with those suggestions or
jeverberations, the steps by which they are developed can
be traced. They are mainly two: (1) where the suggest-
ion is an idea, and (2) where it is an alamkara. You get
no alamkara from the words but from their suggested
meanings. This chapter is called tlie dhvani-kavya or the
best Kavya. The varieties of dhvani are here given
as 10,455.
Tile 5tli Ullasa treats of middling Kavyas of 8 kinds,
in which the ordinarv or expressed
Ullasa V. .1
meaning is more enjoyable than the
suggested one.
The 6th Ullasa is devoted to poems in which there
is no suggestion. It is the shortest
chapter in the Kavya-prakasa.
UIIhsu VI
Ullasa VII treats of the
various defects.
The 7th Ullasa treats of dosas. They are the proper
function of the rhetorician. But Mam-
mata prefaces the chapter by saying
that the rasas are the principal things
in a Kavya and therefore the defects of rasas are the
principal defects. But rasa depends upon the expressed
meaning, therefore defects of the expressed meaning are
also defects of rasa. Regardless of classification of the
cclxiv
PREFACE.
defects by other authors, he divides these defects as
(1) defects of words, (2) defects of sentences, (some of these
are the same as defects of words), (3) defects of meaning,
and (4) defects of rasas. Mammata takes a good deal
of space in defending, certain of the defects of rasas under
different circumstances.
The 8tli Ullasa treats of the gunas, and they are,
according to Mammata, only three, viz.,
(1) sweetness, (2) spiritedness, and
(3) perspecuity. All other gunas are either included in,
these three or are mere wants of defects. One or two
gunas of other authors are regarded as positive defects by
Mammata.
Ullasa IX— treats of the
SaVjdnlainkRras.
The 9th Ullasa deals with figures of speech pertaining
to words and among these, vakrokti
is mentioned first of all, — where the
meaning of the words intended by
the speaker is taken in a different way by the hearer.
This Vakrokti, Kuntala, a subsequent writer, makes the
soul of poetry. The second is the alliteration with many
varieties. Then come the yamakas and then the double
entendres. Mammata has laid down that if the figure
of speech remains the same after the word with a double
meaning is changed by one of its synonyms, it does
not pertain to the sabda but to the artha. But if the
figure disappears with the change of the word, it pertains
to words. One of the special features of Mammata is
that he regards the ritis, Vaidarbhi, etc., as sabdalanikara
and considers them as a part of alliteration or anuprasa.
So what Vamana thought to be the soul of Kavya, is
regarded by Mammata as a thing subordinate to anuprasa.
He names them as upa-nagarika, paru§a, and komala
vrtti in anuprasa. After these come the vandhas^ and the
PREFACE.
cclxv
last figure is called the punar-ukta-vadabhasa, where
the same thing seems to be repeated but is not really so.
Ullasa X — treats of the
Arthalamk&ras.
The 10th or the last Ullasa is on the figures of
speech pertaining to the meanings of
words. It treats also of the mixture
of different figures of speech. It has
one special feature. Previous rhetoricians who did not
believe in the suggested sense, thought that if the suggested
.sense is less delightful than the expressed sense, they
are alamkaras. So they called these alainkaras by various
names, e.g., rasavat, preya, urjasvin, samdhita, etc. But
Mammata calls them inferior poems in which the suggestion
is subordinate to the expression, — (gunibhuta-vyanga) ;
and so they are not mentioned in Ullasa X with alamkaras,
but are treated of in Ullasa V where he treats of second-
rate poetry.
There are many misconceptions about the work,
Kavya-prakasa, all generated from the
Misconceptions about the i • i • • 'j. r i i
... unhistoric spirit ot uUe scholars spe-
cially of Eastern India. Some late
Bengali commentators think that the Karikas are by
Bliarata and the vrttis only are by Mammata. Another
Bengali commentator says that Mammafa, Uvvata, and
Kiayyata were nearly related to one another. All that
we know about him, is, that he mentions Bhoja and
therefore comes after him. The Bengal tradition that
Srl-harsa, the author of Naisadha-carita, was the sister’s
son of Mammata is equally untrustworthy.
Commentaries on Kavya-prakasa
In our Catalogue Nos. 4821 and 4822, there is a
copy of Sri-dhara’s commentary on the Kavya-praka§a,
cclxvi
PREFACF.
entitled Kavya-praltasa-viveka. It was copied at Gaja-
ratha-nagara in the kingdom of
Sri-dhara’s Comment- Tira-Bhukti 01’ MitliiJa ill La. Sain
ary named Kavva-pra- , . i , i i
kfisa-viveka. ^ 291 wliich coiiies to nearly 1405
A.D., under the order of Vidvd-paii
Thakiira in the reign of Siva-sirnha, bis patron. The
composition of the commentary, therefore, would go in
the 14th (ientury or earlier. The commentary was then
regarded as important, because Vidya-pati ordered two
scribes, Sri-deva-sarma and Prabha-kara, to copy it
rapidly and two distinct handwritings are Iraticable
throughout the MS. In this MS. Sri-dhara is described
as Tarkacarya Thakkura. T'andi-dasa, the Bengali and
Vlsva-natha, the Oriya, in tlieir commentaries on Main-
mata, cite him as the Minister of Peace and War. Sri-
dhara appears to be a Maithila. The MS. is a very
defective one and was acquired in two different instal-
ments and has two different numbers. It was copied
early in the 15th century and perhaps composed in tlie
13th,
CfmcU-dHSfv and his line-
age. (Catal. No. 48Ii8.)
In this connexion we get the date and lineage of
Candi-dasa, another well-known com-
mentator of Kavya praloisa. The
work named Kavya-prakasa-dipika
was composed at the request of Laksmaiia Bliatta.
Camb-dasa’s descendant, Nr-Siniha Tarka-paheanana,
writing a commentary on the dhatu-patha of Sain-
ksipta-sara, entitled Gana-martanda (See I.O. Catal.
p. 839), says that Candi-dasa was a commentator of
alamkara (alamkara-tika-krteh) Nr-simha is lOth in
descent from Candi-dasa. The family was Mukharjis
(Mukha-kule jatah) and they belonged to the endo-
gamous group called Vanga-meli. They were very parti-
PREFACE.
cclxvii
cular in their marriage in equally respectable families.
They lived at Ketu-grama, four miles to the west of
Uddharaiia-pura on the Ganges. The MS. of Gana-
martanda is dated 180(i A.D. As the endogamous
group to wliich Candi-dasa belonged is given, and as we
know from Brahmanic heraldry (Kula-sastra) that such
groups were formed at an assembly in 1482 in which
Can(li-dasa must have been represented, the period of
liis literary activity should go to the middl(‘ of the
15th century or carliei*. So he is not the younger
brother of the grandfather of Visva-natha as Dr. De
says, for Visva-natha was an Oriya.
R.iLilni (leva’s Aillui-
pj aknsika..
Artha-praka.sika or Karikartha-prakasika by llaghu-
deva (4818) appears to be a very
late production, i)ecause the author
thinks that the Karikas are l)y
Eliarata and not by Mammata, and lie appears to have
commented upon the Karikas only. (Bharata nana
sambhuta-karikartha-prakasika.)
Jayanta Bhatta was perhaps one of the earliest
commentators of the Kavya-pra-
Jayanta BhaUa and KaVVa-
his comnieutary.
prakasa-dipikc'i. The author gives
his date as 1294 A.D. He describes himself as Sri-
purohita. Sir R. G. Bhandarkar in P. 17 of his Report
for 1883-84, says, from the MS. before him. — ‘STayanta
calls himself the purohita and was the son of Bharad-
vaja who was purohita or family priest to the minister
of Sarahga-deva, sovereign of Gujarata. He finished
his work on Sunday on the 3rd of the dark fortnight
of Jyaistha in the Samvat year 1350, in the triumph-
ant reign of Sarahga-deva the Maharajadhiraja while
cclxviii
PREFACE.
his victorious army was encamped near Asa-pallL
Jayanta bestows extravagant praise on his father; and
tells us that the King of Qujarata threw himself prostrate
at his feet.”
Jayanta's commentary, however, underwent a
curious transformation in the hands of Ratna-kantha,
a late commentator, who says, —
“ Jayanti-mukhya-tikabhyah saram uddlirtya yatnena |
Nirmito Ratna-kanthena Tika-sara-samuccayah || ”
So the recast of Jayanta’s commentary is called Tika-
sara-samuccaya.
Kavya-prakasa-nidarsana by Rajanaka Ananda (our
Catal. No. 4820.) is also called Riti-
KRvya-praka§a • nidar* kautha-vibodliana, bccausc the
Sana by Rajanaka '* .
Annnda. autlior himselt, a oaiva ot Kasmira,
thinks that Kavya-prakasa has an
inner meaning relating to Riti-kantha or Siva. His
date is 1605 A.D. Stein says, (Jammu Catal. p. 27)
‘‘Ananda who composed his commentary in 1665 A.D.
is still well remembered in the tradition of Kasmirian
panditas as a contemporary and friend of Rajanaka
Ratna-kantha” who flourished about this time.
Kavya-pradipa is by Mahamahopadhyaya Govinda,
a Pandita of Mithila, son of Kesava
Sonodevi, younger and affec-
tionate brother of Ruci-kara and
the elder brother of a Sri-har^a, a poet. Ruci-kara
seems to be a step-brother of Govinda, because Govinda
says that he himself is the first son of his mother. He
is later than Visva-natha whose definition of kavya he
PREFACE.
cclxix
ciiticises, and is earlier than Prabha-kara who quotes him
in his Rasa-pradipa written in 1583 A.D. (See our
Catal. Nos. 4823-4826.) This commentary has two sub-
commentaries; — one is by Nagoji Bhatta entitled
IJdyota (Catal. Nos. 4827-’28), and another by Vaidya-
natha Tat-sat, son of Rama Bhatta and is entitled
Prabha. (See our Catal. Nos. 4729 and 4730.)
This Vaidya-natha is not the same as Vaidya-natha
Payagundc. The Tat-sats were the gurus of the last
dynasty of Vidya-nagara, while the Payagundes wore
-one of the six Deccan Brahmin families settled at Benares.
Kavya-prakasa-vistarika by Parainananda Cakravarti
is another commentary on Kavya-
K«ya.p™i<5.a.v,BUrik5 The latest ‘ authority ‘ he
cites is Visva-natha, the author of
Sabitya-darpatia who speaks of Ala-ud-din Khilji as one
with whom peace or war was equally ruinous. Therefore,
Visva-natha comes after Ala-ud-din, i.e., in the middle of
the 14th century. Paramananda comes before Kamala-
kara in the beginning of the 17th century who cites from
his work. But this long period of 250 years may be
reduced by the fact that Paramananda was a Bengali
Naiyayika and the pupil of Isana Nyayacarya who never
admitted the truth of his opponents, and that the study of
Nyaya was introduced in Bengal by two learned scholars, —
Vasu-deva Sarva-bhauma and Raghu-natha Riro-mani, —
both disciples of Pak^a-dhara Misra of Mithila in the
beginning of the 16th century.
Kamala-kara was the son of Bhatta Ramesvara
and grandson of Narayana Bhatta
K«vy«^raks8a-prakasa obtained froiu Akbat the title
by Kamala kara.
of Jagad-guru, and great grandson of
cclxx
PREFACE.
Ramesvara who migrated from Paithana on the Goda-vari
to Benares, and who was the last of a long line of panditas
in the Maharastra country. Kanialakara flourished in the
early 17th century, and he was a voluminous writer on
Sinrti and Mimamsa. He undertook the writing of a
commentary on Kavya-prakasa because he had something
new to say. (See our Gatal. No. 4S88.)
Pliis is aimther (commentary on Kavya-prakasa by
Gada-dhara wiujse commentary on
K<i V .V a • c k a i )y ^ j ^ Tatt V a-(c i u ta- nui u i-d id h 1 1 i
(.kula-tlliiu’ji
is one of the standard works on Nyaya
in Bengal. Gada-dhara in this commentary is described
as Bhattacarya-cakravartL Ke got no academic title
from his guru, because an accident prevented his comple-
tion of studies, which alone entitled him to such a distino-
ti(m. He was, therefore, known by the ordinary titles
of a paiujita, viz,, BhaHacarya and (-akravarti. He vas
the pupil of Hari-rarna Tarkalankara and flourished in
the beginning of the 18th (century. His descendants are
still living at Nava-dvipa. (See our Catal. Nos. 4834-
4836.) Gada-dhara after writing many works on the
abstruse subject of Nyaya wrote this commentarj^ on
alanikara to satisfy the curiosity of his contemporaries.
^Subuddhi Misra calls iiimself a Mahesvara, because
perhaps he was a worshipper of
Tafctva-paiikBa by Malicsvara or Siva. He says that in
MabeKvaia Subuddhi . , , _ ^
MiSm- (Catal. No wsi). Commenting upon Praka.sa, Dipika,
and others are useless. Seeing that
even °Darpana and others do not function, Subuddhi
to put a stop to all cavilling criticisms, examines the
real truth of all words and their meanings. His work
is named Tattva-parikf^a, or more fully, Rabdartha-tattva-
PREFACE.
eclxxi
parik:^a. As he is quoted by Ratna-kantha> he seems to be
earlier than the middle of the 17tli century.
Mahesvara Nyayalankara was a Bengali and his
commentary was a standard work in
^rahesvara Nynya Bengal for moi’c than a century. It
is still studied in the tols of Bengal.
1'he comnientary is called Kavya-prakasadarsa or Kavya-
prakasa-bha vartha-einta-inani (Catal. No. 4840, 4 841 ).
The author coinplains of the wrong interpretation of tlu'
text w’hicli he w'ants to make right and thereby open
the bolt of the door of Poetry. He expects that it will
give deliglit to Brahinanas and will be accepted for its
clearness. Dr. S. K. De says, ‘"As ho is cited by Vaidya-
natha, he sliould be placed before tlu^ middle of the
L7th century, and it is probable that ho flourished at
the commencement of that century.” There were two
Vaidya-nathas, the Payagunde and the Tat-sat ; but both
of them flourished in the 18th century. Payaguiuje was
the pupil of Nagesa. Tat-sat composed our Catal. No.
4844 in Saka 1740, Ce., 1818 A.D. Mahesvara, therefore,
is to come in the 18th century. Our next No. 4842 by
Sri-krsna cites Nyaytilahkara who was his guru. He
thinks that Mammata is the author
SrI-krMna. .. i i i ht
ol the vrtti ; because he says, Mam-
mata explains the two Mimanisaka opinions but does not
cite the Naiyayika opinion. (Mammata-bhattas tu vrtti-
karta ityaha. Yuktas caitat, anyatha vivecana-prasahga-
karikayani Maha-bhasya-Mimamsaka-mata-dvayam eva
darsitain na tu Naiyayika* matam. Leaf 3 A.) Though
there is not much force in this argument, it is cited
here to show that modern Bengalis consider Mammata
as the author of the vHtis only. The name of Sn-kisna’s
commentary is Rasa-prakasa.
cclxxii
PREFACE.
Vaidya-natha Tat-sat’s commentary is called Kavya«
prakasa-sodaharana-candrika. It was
Vaidya-natha oomposed in ‘‘ viyad-veda-muni-ksma-
mite abde”, i.e., in Saka 1740. He was the son of Rama-
bhatta and grandson of Vittala-bhat ta.
Rama-kr^na’s Kavi-nandika is another commentary
on Kavya-prakasa which dispels the
Kama-kr.sna. (Joubts of lovers of poetry, deprives
the arguments of the opponents of their force and
delights the wise people.
Sri-vatsa-lahchana calls himself a Bhattacarya. His
father’s name is Visnu Bhattacarya.
Sri • vat 88 -laA chan a. ^ . n j o-
His commentary is called bara-
bodhini. He is cited by Ratna-Kantha in the middle
of the 17th century and he cites from Vidya-natha’s
Pratapa-rudriya (our 4847). Besides this commentary
Sri-vatsa-lanchana seems to have written an original
work on rhetoric entitled Kavya-pariksa in 5 chapters
with a commentary of his own (See I.O. Catal. 1188),
In this work he seems to follow Jagan-natha Pandita-raja
who says that sabda is the only thing to be considered
in the definition of Kavya. The author is perhaps known
also by the name of Jada-bharata.
Kavya-prakasa-darsanam, divided into Udyotas is
An anonymous KasraTri
commentary.
our No. 4448, I and II. It is written
in Kasmiri. It is a long work, but
the MvS. is fragmentary and the
author’s name is not found.
Kavyamrta-taraiigim is our Catal. No. 4849. It is
a hostile criticism on Mammata’s
KSvySmrta-tarangini.
Kavya-prakasa. It would have been
a very interesting work, but our MS. is fragmentary.
PREFACE.
cclxxiii
Besides these commentaries mentioned in our Catal-
ogue, the following are to be found in other Catalogues : —
In 1.0. 1139 we find a commentary named Bala-
cittanuranjini by Sarasvati-tirtha at
B§ia-ciURnurafljinj. Benarcs who as a householder was
known as Nara-hari, son of Malli-
natha and Nagamrna. His grandfather was Nara-simha,
son of Ramesvara. Narahari’s brother was Narayana who
was born in Sa-vasu-graha-hastena Brahmana samalaiikrte
Kale. As he lived in the Andhra country where the
Vikrama Samvat is current, the date seems to refer to
Sam vat 1298 = 1242 A.D. Nara-hari was proficient in
Tarka, Vedanta, Mimamsa, Samkhya, Sahitya, and Mahca-
bhasya. He is said to have written commentaries on
Megha-duta and Kumara-sambhava, and a Smrti work
named Smrti-darpana, and a Nyaya work entitled Tarka-
ratna with its commentary Dipika. As the author was
nearer in time to Mammata, his commentary may be
regarded as historically reliable.
KSvytt-prakasa-tilaka
( 1 . 0 , 1142 .)
Kavya-prakasa-tilaka by Jayarama Nyaya-pancanana
is a philosophical treatise on Kavya-
prakasa. It was written in the
abstruse and difficult language of
modern Naiyayikas of Bengal. The author was a prolific
writer of modern Nyaya. He wrote a commentary on
Gotama’s sutras entitled Nyaya-siddhanta-mala to estab-
lish the fourfold proofs, — perception, inference, analogy,
and authority, — in Samvat 1750 = 1694 A.D. He is to be
differentiated from Jaya-rama Tarkalankara, a pupil of
Gada-dhara. He has a set colophon for all his comment-
aries and the same colophon is given in his ®Tilaka. The
colophon in his Vyakhya-sudha is: —
cclxxiv
PREFACE.
Dhira-sri-Jaya-Ramena Rfiineneva maliodadheh !
Nyriya-sindhoh-param param gaiitum adhva iiivadhyate
In the 'Tilaka, it is: —
Vaddhah Sn-Jaya-ramena Raineneva inahodadbeh !
Alaiikarambudhau setiih sancarantu budhah sukham '!
See pp. 90, 91 of Nava-dvipa-niahimri by Kanti-caiidra
Radhi. Kaiiti was the daughter's son of the agent of the
Raja Kisna-nagara at Nava-dvipa in the 19th century.
He says, that from Jajni-rama’s time the Rajas of Krsna-
nagara took the i)an(litas of Nava-dvipa. under their
patronage and granted lands for the support of their
families and students. The lands have now been resumed
by the British Government whicli pays a handsome sum
for the subsistence allowance of the Sanskrit students at
Nava-dvipa.
Kavya-prakasa-vyakhycl was written by Yajhesvara,
the sacrificer. At the end, the com-
mentator says that the author could
not finish the work ; somebody else
completed it. But the style of writing is such that none
can distinguish between them.
Kavya-prakasa-lila is another commentary by M. M.
Bhava-deva, son of Krsna-deva, and
pupil of Bhava-deva Thakkura. The
commentator says that though there
are many other commentaries of the Kavya-prakasa. his
commentary has nothing to do with them.
Kavya-pmkaaa-lila.
(Mad. 12824.)
Madhu-mati is by Ravi whose father Ratna-pani also
wrote a commentary on Kavya-
adViu and KSvya* i — — i i i
darpana. (1 0 1144 ) prakasa entitled Ivavya-darpana and
whose grandfather Acynta was a
PREFACE.
cclxxv
minister of Raja Kiva-simha of Mithila, the patron of Vidya-
pati in the early years of the 15th century. The literary
activity of Mithila was at its height througliout tliat
century. If Acynta be a minister of *Siva-siinha, say about
1410, Ratna-pani would come at the middle and Ravi at
the end of that century. Ravi says tliat his Mad hu -mat!
is only a reflection in the Mirror of Poetry of his father
(P. 333 of Peterson’s 3rd Report). Ravi cites Bhaskara,
aiiotlicr commentator of the Kavya-prakasa. He names
the commentary as Madhu-mati after tlic name of his
daughter^ and at the end prays for the reputation of both.
Sampradaya-pradarsini or Vrhat-tika is by Vidya
Cakravartin who says that good men
(Mad i 2 s>o ) neglected tlie study ot Kavya-prakasa
and Alankara-sarvasva and so he is
writing this commentary for revjving the study of both the
works.
Rohitya Bhatta Goplla wrote a commentary on the
Kavya-prakasa entitled Sahitya-cuda-
‘ . .. mam or Kavya-prakasa-vimarsini.
Kavya-prakasa-vimarsini ‘ x . •
(Mad. 12828.) The work has been described in the
Triennial Catalogue of MSS. in R. 1282,
VoL 11, Part I-A. The writer there says that as the value
of gold is judged by the line it imprints on the test-stone,
so the Kavya is judged here by means of dhvaiiL
Alamkara-sarvasva by Rucaka.
The story of the discovery of Rucaka’s work by
Biihler in his Kasmira Report in
Rucaka and his disciple , i mi
Maokhuka or Maokha. reads like a romance. There are
Samudra vandha-acom- tWO thoorieS aboUt the authorsllip of
mentator. jayaratha. a work. The Kasmirians say that
second commentator.
both the sutras and the vrtti are by
cclxxvi
PREFACE.
Rucaka himself. But in Southern India, the sutras only
are attributed to Rucaka and the vritti to his disciple,
Mahkhuka or Mahkha. The sutras are called the
Alamkara-sutra and the commentary, Alamkara-sarvasva,
The Trivendrum edition is accompanied with the com-
mentary of Samudra-vandha. Samudra-vandha was an
ornament of the court of Ravi-varma alias Samgrama-
dhira, King of Kolamba (Quilon) in Trivancore, who was
born in 1265 and conquered the countries as far as
Conjevaram. The Kavya-mala edition is accompanied
with the commentary of Jaya-ratha, son of Rrhgara and
a protege of Raja-raja, king of Kasmira, who is sup-
posed to be the Rfija-deva mentioned by Yona-raja as
reigning from 1203 to 1226.
Rucaka’s date is regarded to be in the beginning
, , , ^ of the 12th century. His pupil,
Mankhuka or Mankha, wrote a work
named Sri-kantha-carita about 1145 A.D. Rucaka has
quoted six verses from his pupil work.
Rucaka’s work deals with alarnkaras only. At the
Rucaka and Kuntaia. Commencement of his work, Rucaka
Rucaka and Mahitna- disCUSSCS the VarioilS tlieorieS of
Kavya and accepts the prevailing
theory of dhvani. As a writer on alarnkaras only, he
has made a full statement of Kuntala’s theory of Vak-
rokti being the characteristic of all figures of speech.
Kuntaia not admitting vyahga or dhvani, thinks that
“ abhidha-prakara-visesah eva alamkarah”. He gives
the idea of Mahima-bhatta in the following words: —
‘‘ Yat tu Vyakti-viveka-karo vacyasya pratiyamanam
prati lihgataya vyanjanasyanumanantarbhavam akhyat,
tad vacyasya pratiyamanena saha tadatmya tadutpat-^
PREFACE.
cclxxvii
tyabhavad avicaritabliidlianain.” (Triv. Sans. Series,
No. XL, P. 11 ft’.)
The author, though he accepts the theory of Kav^ya
as given by the Dhvani-kara, accepts also the theory of
Kuntala in the matter of figures of speech and tlierefore
rejects many figures and has not included, like Kuntala,
the vastu-dhvani, rasa-dhvani, and alamkara-dhvani
among figures of speech.
Jaya-ratha.
Alainkarodaharanam.
Alanikarodaharanam (4852) gives the illustrations of
Alamkara siltras for the benefit of
young learners. Jaya-ratha (in the
catalogue, the name is written Jayad-ratha) had a
grandson who, though very young, was very anxious to
learn rhetoric: therefore he undertook to give the child
the decided opinions about all alamkilras. The author
says that his is an exhaustive work on rhetoric. He
had a work, named Alamkara-vimap^ini, which was a com-
mentary on Rucaka’s Alamkara-sarvasva. About him
Biihler says, ''This pandita (Jaya-ratha) was a son of
Srngara and the author of Tantraloka-viveka. In the
concluding verses of that work we are told that Srngara
had two sons, Jaya-ratha and Jayad-ratha, the former
of whom wrote the °Viveka. The MSS. frequently va-
cillate between the two names.” (Kasmira Report, P. 68.)
Biihler says that he certainly wrote at the end of the
12th century.
Hema-oandra.
Hema-candra’s time, life, and ancestry have been
previously given. He was patron-
ized by Siddha-raja Jaya-simha of
the Calukya dynasty of Gujarat, and he converted
Hemft candra's age.
cclxxviii
PREFACE.
the next king, Kumara-pala, into the Jaina faith. He
persecuted the Brahmins and destroyed the Vaisnava
doctrine. He was a voluminous writer, not only on
Jainism but also on many branches of Sanskrit literature.
He had a great command of books and his works, there-
fore, have an encyclopedic character. His work on
alamkara is called Kavyanu-sasana which has a com-
mentary by himself called Alamkara-cilda-mani. Basing
his work on Kavya-prakasa he has laid under contribution
a very large number of rhetoricians who had preceded
him. He has little originality, but his compilation is very
valuable owing to numerous citations.
Vagbhatalamkara.
Vagbhata is a Jaina author. He opens his work
with an invocation to Nabheya-jina
Vagbhata s age. many of liis illustrations are
from Jaina works (III. 9). His description of Kavya
is comprehensive. It embraces Sabda, artha (words
and their import), excellences, figures of speech, riti,
and rasa. He flourished (IV. 45) in the reign of Jaya-
simha, i.e., Siddha-raja Jaya-simha, (1094-1143 A.D.)
whose capital was Anahila-pataka (IV. 132). Vagbhata
seems to have been a Mahamatya of Jaya-simha; for
Simha-deva-gani, Vagbhata’s commentator, says so in
his note on IV, 148, Vagbhata like Riidrata treats of
guna (excellences), dosa (defects), and Alamkara (figures
of speech) in the first five chapters and then introduces
rasa as the salt of poetiy (V. 1). He does not, therefore,
consider rasa as essential like Bharata, but only as ad-
ding taste and flavour to it. The ritis he treats at the
end of the 5th chapter on rasa, as something supplement-
ary to and as enhancing the enjoyment of, rasa.
PREFACE.
cclxxix
There is very little of originality in Vagbhata. All
important Karikas in his work can be either identified
with those in others, or they are slightly variant.
In Vagbhata’s opinion, languages are four, San-
skrit, Prakrit, Apabhramsa, and Bhuta-bha.?a. The Apa-
bhrainsas are many, current in different parts of India.
He considers Citra and Vakrokti as verbal figures of
speech.
Vag-bhatalarukara,
In a Prakrit verse given as an example of the figure
prasnottara, the writer says that
Bahada (Prakrit form of Vag-bhata)
was the son of Soma like the effulgence issuing from the
pearls. The elements of Kavya are do^a, guna, alamkara
riti, and rasa. The first chapter treats of the training of
poets ; the second chapter treats of dosa. The third
chapter treats of the gunas, and the fourth and the
largest chapter of alamkaras and the fifth treats of rasa,
and the sixth, of ritis which are six in number, — Lati,
Paficali, Gaudi, Bacchomi, Vaidarbhi, and Magadhi. (Our
Catal. Nos. 4791-92).
This Jaina work on rhetoric has been annotated by
two commentators. The first is Bhatta Ganesa, son of
Ananta and disciple of Bhaskara (I.O. 1155). This com-
mentator is a Hindu and commences his commentary
with an invocation to Rama. I believe as a Hindu he
feels a bit constrained to comment upon a Jaina work;
for he says — ‘‘ Vag-bhatalankrti-vyakhyarn karturn
kincin niyantritah”. The other commentary is by Jina-
vardhana, son of Jina-raja of the Khara-tara-gaccha.
He wrote between the years 1404 and 1418 A.D. (I.O. 1156).
This is a short commentary for the benefit of young
learners.
cclxxx
PREFACE.
Vag-bhata II.
Kavyanusasana or Alanikara-tilaka by Vag-bhata^
son of Nemi-kumara and Vasiindhara
KSvyanuflftaana or Al- • r i i i i
amksra-tuaka. (1.0. 1157.) foundod Oil the Same plan and
travels over the same ground as
Kavyalahkara by Vag-bhata I. The ""Alamkara is written
in slokas while the ‘'Anusasana is written in terse prose
depending on the commentary for the full development
of particulars.
This is the first work in which we hear some of the
minor kinds of dramas, e. g., satiahi, dotnbiha, hhana^
'prasthdna-hhanilcdy prerdna^ singakd, rdma-krida, hrlllmka
srl-gadiia, and rdsaka-gosfhl. The author speaks of Maha-
kavyas; Raghu-vamsa in Sanskrit divided into sargas,
Setu-vandha in Prakrit divided into asvasakas; Abdhi-
mathana in Apabhramsa bhasa divided into sandhis, and
Bhima-kavya in the Gramya bhasa divided into avas-
kandhakas.
The author was a native of Rahada-pura, famous
as the shrine of the god Rahada, where there is an image
of Nemi-natha in black stone.
Eggeling seems to take the authors of the Kavya-
larnkara and Kavyanusasana as one and the same
person.
m
Natya-darpai^a by Rama-candra and GuIjTA-CANDRA.
Natya-darpana is a work on dramaturgy by Rama-
^ candra and Guna-candra, both dis-
Natya-darpana.
ciples of Hema-candra, the famous
Jaina writer. Rama-candra seems to have been a
favourite of Hema-candra, as he de-
The authors, Rsma- gjgned him as his successor. But
Ajaya-pala, the successor of Kumara-
PREFACE.
cclxxxi
pala made Rama-candra stand on a red-hot sheet of
copper and thus put him to death. Rama-eandra is said
to have written a hundred books of which many were
dramas. Eleven of his own dramas are quoted in his
Natya-darpana. Nala-vilasa, one of his dramas, has been
printed in the Gaekwad Oriental Series, Guna-candra
does not seem to have helped him in writing these works ;
he helped him in writing serious work like the Natya-
darpana.
The authors seem to have fully utilised the materials
existing at their time. But they
The chrtiactenstic of tlie iiut/v i • i p ^
boldly dinered on many points trom
them. The number of rupakas is given
by Bharata, Dhanahjaya, and others as ten, — with natika
as an extra one in Dasa-rupalca, and Hema-candra added
a twelfth as sattaka. But our authors omit saitahi and
put in prakaranl there. They declare that the other
forms of dramas besides these are negligible, because they
do not lielp in the development of rasa.
In the matter of rasas early writers like Dandin,
Bhamaha, and Vamana do not touch upon them and the
connected subject of dramas. Bharata says they are
eight in dramas. Abhinava-gupta adds Santa to it.
Mammata omits Santa in the drama but inserts it in the
kavya. He says, as there is no action in the Santa it
cannot be a dramatic rasa. Our authors believe in the
9 rasas and they also believe that Santa can be developed
in a drama.
Abhinava-gupta, Mammata, and even, Hema-candra
think that rasas produce pleasure only; — pleasure in a
detached form, as the pleasure of knowing Brahman.
colxxxii
PREFACE.
But Rama-candra and Guna-candra think that they
produce the feelings of both pleasure and pain. But
why should people go to sec a drama which produces a
feeling of pain ? Rama-candra answers, — Owing to the
skill of the poet and the actors.”
The Na tya-darpai>a is written 'in the form of karikas
to which the authors add a com-
Arrangement.
mentary which they call svopajha, f.c.,
original. The first chapter describes nataka; the second
chapter describes the other eleven forms of dramas ; the
third chapter deals with rasa, vrtti, bhava, and abhinaya
and the fourth, the common characteristics of all the
dramas.
Unlike the majority of books on alamkara, our autliors
. are not satisfied with one sloka only
Spociftl feature. ^ ''
for the elucidation of one technical
term. They would quote long passages, both in prose and
in verse, till the point is explained. They thus avoid the
necessity of further elucidation by commentaries.
This work is in the process of publication in the
Gaekwad Oriental Series, and here we acknowledge our
thanks to the General Editor, Oriental Institute, Baroda,
for the courtesy of sending advance forms of the
work.
Bhava-prakasana by Sarada-tanaya.
Bhava-prakasana is an original work written by Sarada-
tanaya who is so named because his
BhSva'prakasana. *
father got him by the favour of Sarada
Devi.
PREFACE.
cclxxxiii
In Aryavarta, there is a place called Meruttara,
(some say Meerut) in which there is
The author and his .11 n 1 nT-i.!
^ a Village called Mathara-puiya in-
pedigroe ^ • jt
habited generally by Brahmins.
There, in the kasyapa-gotra was a Brahmin named Lak?-
mana who pleased Visnu by thirty sacrifices and wrote
a commentary on the Vedas, entitled Veda-bhusana. His
son was Krt^na who worshipped Maha-deva at Benares
and got a son named Bhatta Gopala proficient in the
eighteen vidyas of the Bralimins. He propitiated the
goddess Rarada and got a son whom lie named Rarada-
tanaya, and the boy grew up in his father’s house study-
ing the Vedas and the auxiliary sciences.
Once upon a time, he came to worship the goddess
Rarada in her spring festival. Her imago was brought
to the nata-maiidira or dancing-hall where tlio audience
was sitting. With the permission of the audience he sat
by the side of the goddess and saw the performance of
30 different kinds of dramas, and he asked the goddess
to grant him the Natya-veda. The goddess asked the
stage manager to teach him that. He taught him the
methods of Sada-siva, Vasuki, Vag-devi, Narada. Agastya,
Vyasa, and of the disciples of Bharata. Having learnt
this in the presence of the goddess, Rarada-tanaya made
an abstract of them all, and wrote this treatise Bhava-
prakasana.
The author, Rarada-tanaya was trained by a stage
His training manager of great reputation and skill.
His theatre was attached to a great
temple, and so the author has a claim to be listened to
on the subject of dramas. The first thing that attracts
notice in his work is the number of major and minor
cclxxxiv
PREFACE*
dramas, whicl) are, according to the Agni-purana 27,
according to the Sahitya-darpaiia, 28, and according to
our author, 30 in number. The comparative list attached
herewith, will show where they agree and where they
differ.
Classitication of dramas arranged alphabetically in —
I II HI
Agni-purana Sahitya-darpana Bhava-prakasana Examples m the Bh. P.
Anka
1.
Anka
1.
Anka
RarnSnuja. NagSnanda,
GangS-BhagIratha.
2.
Ihumrga
2
Thnmrga
2.
Ihamrga
Kusnma sekhara.
3.
Ullapyaka
3.
UllSpya
3.
Ullopj’^aka
DevT-Mahadova, and
Udatta-Kunjara.
4.
KaniR
4.
Kavya
4.
Kalpa valli
Manikya-valirka.
T).
Kavya
6
Coathi
5.
KAvya
Sngriva-ki'lana.
G.
(Josthl
G.
Dima
6.
Coflthi
Y a mal arj im a- vadha.
7
Pima
7.
Trotaka
7.
pi ma
Tripuia-daha, Vrtro-
ddharana.
H.
Trotaka
H.
Dunnallika
H.
Ponibl
Kama-datta.
9.
Darmallika
9.
Nat aka
9.
Totaka
Menaka-Nahu-;ia, Mada-
lekha, Vikramorvastya.
JO.
•Nataka
10 .
Nalika
10.
Durmallika
11
NatiUa
1]
Natj a-ra.saka
» 11 .
Nat aka
Caitravali, Gaurl-gidui
Vikramovaai, Rama-
bhyudaya, Sakuntalfi,
etc.
12 .
Natya-raaaka
12 .
Prakarana
12 .
Natika
Ratnavali, Priya-darsika.
A Natika under certain
circumstances becomes
a Sat^ka,
13.
Prakarana
13.
Prakarani
13.
Natya-ra-
saka
14.
PrastliSna
14.
Prasthana
14.
Parijata
Gaiiga-tarahgika
15.
Prahasana
15.
Prahasana
15.
Prakarana
Mrcchakatika, Padma-
vati-parmaya, Malati-
mSdhava.
Ifl.
Prenksana
16.
Preiikaana
16.
Prasthana
Srngara-tilaka,
17.
Bhana
17.
Bhana
17.
Prahasana
* In the opinion of Sn-vandhu, nRtakas are of 6 kinds: (1) purna, e.g.y Krtya.
Rgvana, (2) prasanta, Q.g.t Svapna-vSsava-datta, (3) bbSavara, c.g'., Bala-RamSyana,
(4) lalita, e.g., Urvasi-vipralambha, (5) samagra, MahS-nStaka,
PREFACE.
cclxxxv
I II Til
AoNi-ruRAjyA Sahitya-darpana Bhava-prakas an a Examples in the Bh. P,
18.
Bhanika
IH.
Bhanika
18.
Preksaka
Bali'Vadha, Nr-simha
vijaya, Tripura-mai'
dan a
19.
BhanT
19.
Rasaka
19.
BhRna
RamakrTda.
20.
Rasnka
20.
Vjlftsika
20.
BhSni
Vina-vatl.
21.
Vftiu
21.
VTthI
21.
Mallika
Mum-kulyfi ?
22
Vyfiyoga
22.
Vyayoga
22.
Lasaka
23
Silpaka
23.
Silpaka
23.
VTthI
Vakiila-vlthl, Indu-lekha.
24.
Srl-gadita
24.
Sri-gadita
24.
Vyayoga
25.
Sattaka
25.
Samlapaka
25.
Silpaka
2H.
Sainavakara
20.
Sattaka
20.
Sn-gadita
Ramanarda.
27.
llalllsaka
27.
Sainavakara
27.
Sattaka
Karpilra manjarl.
28.
HallTsa
28.
Sainavakara
Nugananda, Amrta-ma-
than a.
2!). Salhipa
30. Hulllsa Keli-raivata
Tho Agni-purana does not give any descriptions or
illustrations of the minor dramas.
I’lie tlireo works coin- vr-- i • j.*
, Visva-natha s descriptions are rather
pared.
stiff and he has given us no illustra-
tions. But the descriptions of the Blniva-prakasana are full
and informing. Sarada-tanaya gives th(^ sort of dance and
music appropriate to each class, -in which matter Visva-
natha is silent. He also gives an illustration of each
kind of minor dramas, as if he was familiar with them
and in the preamble of his book he said that all the
thirty different kinds of dramas used to be performed
before the goddess.
The author appears to be a man of the Pahcala
Geography of fndia in
the Bhava-prakapa.
country where 64 is a favourite num-
ber. The Pahcalas divided the Rg-
veda into 8 Astakas of 8 adhyayas.
They divided the act of Srhgara into 64 Pahcaliki
Kalas. So our author also divides the countries of the
known world into 64. They are as follow: —
colxxxvi
PREFACE.
(1) Pandya, (2) Kerala, (3) Cola, (4) Sindhu, (5)
Simhala, (6) Pamara, (7) Kalinga, (8) Ya~
vana, (9) Mleccha, (10) Parasika, (11) Raka,
(12) Gauda, (13) Lata, (14) Vidarbha, (15)
Kama-rfipa, (16) Andhra, (17) Kohkana, (18)
Karmlta, (19) Rumbha, (20) Kamblioja, (21)
Hiina, (22) Karusa, (23) Gurjara, (24) Sail-
rastra, (25) Maha-rastra, (26) Himmira, (27)
Avanti, (28) Anupaja, (29) Ahga, (30) Vah-
ga, (31) Vahgala, (32) Kasi, (33) Kosala,
(34) Maithila, (35) Kirata, (36) Vardhaka,
(37) Aratta, (38) Kura, (39) Panoala, (40)
Kekaya, (41) Amllira, (42) Magadlia, (43)
Sauvira, (14) DaMsarna, (45) Magadha, (46)
Nepala, (47) daina, (48) Bahlika, (49) Pal-
lava, (50) Kratha-kaisika, (51) Rura-sena,
(52) Kajana, (53) Karusa, (54) Yavana. (55)
Yadu, (56) Caki*a, (57) Kara, (58) Parva-
tiya, (59) Kmana, (60) Kasmira, (61) Maru,
(62) Keukana, (63) Nagna, and (64) Mah-
kaiia,
^ Meerut, though it is not in the Panoala country,
yet is so near it that wo may take it to be in that country.
The age of the author lies between Bhoja whom he
quotes and Riiiga Bhupala who quotes
him, i.e., between 1050-1330 A.D. But
I think that he belonged to a time prior to the Muham-
madan conquest for two reasons: —
(1) The geography given by him does not show
any trace of such a conquest and the dis-
tribution of languages does not show any
sign of it.
PREFACE.
cclxxxvii
(2) It would be impossible to have a temple like
that of the goddess Sarada in Aryavarta
after the Muhammadan conquest where all
the 30 varieties of dramas could be per-
formed.
The books on alainkara and dramaturgy that we
have, were written either in Kas-
'fhe works and authors
cited in the Bhava-pra-
kaiiann
mira or in the South, and they were
written by learned men. But here is
a boolv written by a professional dra-
matist of superior culture in N. India who enters into his
work with earnestness and affection. To him the ancient
traditions are not yet lost. Brahma, Vasuki, Vyasa, Hanu-
man are still regarded as originating and improving drama-
turgy. Bharata to the author appears also to be an ancient
writer who hud many recensions of his book. He quotes
an ancient recension, -more copious Hi an the one com-
ment(‘d upon by Abhinava-gupta. He quotes Kohala
whose name aj)pcars at the end of Bharata’s Natya-
sastra as the regenerator of dramaturgy. He quotes from
Subandhu, — not the author of the Vasava-datta, — but an
author of dramaturgy. Of the recent authors, he quotes
from Kali-dasa, Bhava-bhuti, Sri-harsa, Bhatta Narayarta,
Raja-sekhara and last of all, from Bhoja. In his time
the Sakyas and Jainas were still in evidence in
N. India. We know more about the distinction of bhava
and rasa, and about the dramatic proprieties from this
work than from any other, because the author was a
professional stage-manager.
Here also our thanks are due to the General Editor,
Oriental Institute, Baroda, for the courtesy of advance
sheets of the work which is in the course of publication
in the Gaekwad Sanskrit Series.
cclxxxviii
PREFACE.
Jaya-deva’s Candraloka.
Jaya-deva’s Candraloka goes over the same ground
as Manimata’s Kavya-prakasa ; but
Jay a deva’s parentage. ,
it is written in easy language and is
very useful to young students. The author, called also
Piyilsa-varsa, raining nectar from his Moonshine, is to
be differentiated from the lyric poet Jaya-deva, author
of Gita-govinda, whoee father was Bhoja and whose
mother was Hama; while the father of the rhetorician
was Maha-deva and mother, Siimitra. The rhetorician
seems to be the same person as the dramatist of
Prasaima-raghava, whose father and mother bore the
same names.
He is sometimes confounded with Jaya-deva, the
Maithil commentator of Tattva-
Datn of Jiiyu-dova. . • • xt - ±
cintamain in Nyaya. His comment-
ary is also called Aloka, and that makes the confusion worse
confounded. But the Naiyayika author of Alolca flourished
at the end of the 15th and in the beginning of the 16th
century; as his own disciple Vasu-deva Sarva-bhauma
was still living at Puri when Caitanya died in 1533; —
while the dramatist’s work Prasanna-raghava is cited
by Singa Bhupala in 1330 A.D. The date of Jaya-deva
is therefore earlier than 1330 A.D., but later than that of
Rucaka, many of whose original definitions of alamkara
he has appropriated. Rucaka’s date has been
tentatively fixed at the second half of the 12th century.
Jaya-deva must, therefore, be coming between 1150
and 1330 A.D.
Jaya-deva claims no originality. He is credited
with lucidity, clearness, and a complete survey
PREFACE.
cclxxxix
of the work of a rhetorician. His book is called
Characteristics of Can
draloka. Pradyotana’s
Saradftgama.
Candraloka, Light of the Moon. His
commentator, Prad3^otana Bhatta,
thought that tlie moonlight is never
so bright as with the advent of au-
tumn, and so he named his commentary ‘ Saradagama
The bright light of the moon in the clear sky of
autumn delights the water-lilies at
Appaya^s^^^^Kuvaiaya- Appaya Diksita wrotc a
work, drawn principally from the
Candraloka, called Kuvalayananda. It treats only of
the figures of speech based upon the meaning of words.
In this chapter Jaya-dcva had 100 figures of speech.
Appaya in his Kuvalayananda added 34 more, — making
a total of 134, the largest number of arthalahkaras
met in any Sanskrit work on rhetoric.
Pradyotana Bhatta wrote his Saradagama in the
,, , , year 1583. He wrote under the
patronage of Vira-bhadra, or Vira*
simha, who at the instigation of Prince Selim murdered
Abul Fazal in 1595. Vira-bhadra was well known not
only as a literary man, for he wrote a commentary on
Vatsayana’s Kama-sutra in 1577, but his name has been
made ever-memorable by his Court Pundit Mitra Misra’s
encyclopedic work, the Viramitrodaya, in which both
the names of the patron and the author have been
immortalised.
There is another commentary on Candraloka by
Visvesvara Bhatta, nicknamed Gaga-
bhatta bhatta, a man of ripe and extensive
scholarship, who made Sivaji a k^a-
ccxc
PREFACE.
triya and directed his coronation in 1674. The com-
mentary is called Rakagama, the Advent of the Full
Moon.
A third commentary is by Vaidya-natha Payagunde,
a Maratha Brahmin of Benares,
\aidyanathaR com- ^ disCiplc of Nagojl Bhatta.
Like his preceptor, Nagoji, Vaidya-
natha wrote commentaries on a varieties of Sastras, but
generally on the 2nd or 3rd remove. He is to be dis-
tinguished from Vaidyanatha Tat-sat, The Tat-sat
family hailed from Vidya-nagara after the fall of that
empire. The Payagundes are one of the six Maratha
Brahmin families who settled at Benares 500 years ago.
Ekaval! of Vtdya-deara.
The Muhammadan invasion of Northern India at
the end of the 12th and in the
Condition of Sanskrit beginning of the 13th century swept
culture after the Muhani- i i a
raadan conquest. away Sanskrit culture trom Aryavarta,
the home of Sanskrit learning. For
two centuries, the 13th and the 14th, the history of litera-
ture (Sanskrit or Bengali) was a blank in Bengal. I have
not seen many Sanskrit and Bengali MSS. even copied
during these two centuries. But, it flourished for a
century more in the Deccan, and for many centuries in
Southern India. The Yadavas of Deva-giri and the
Kakateyas of Odangala kept up the flame of Sanskrit
learning burning in the Deccan. The Yadavas patronised
grammar, smrti, vaidyaka, and jyoti.^a, while the Kaka-
teyas patronised dramas and poetry. The secluded
position of Orissa, guarded by the sea on one side and
an impenetrable jungle on the other, and open to
invasion only through Bengal in the north,— kept
PREFACE.
ccxci
up tne stuay of several branches of Sanskrit literature
and Hindu culture generally till the end of the 16th
century. One of the earliest fruits of their literary activity
is the Ekavah by Vidyadhara.
Eka vail — writton in
tlie vvako of Knvya
praka.sa.
The work Ekavah which has been edited witli great
care by Prof. K. P. Trivedi, generally
follows in the wake of Mammata’s
Kavya-prakasa. That has 10 Ullasas
and this 10 Unme^as. But it is
written in a simpler language and Prof. Trivedi thinks
that it may be read with advantage by the students
who wish to master the harder work of Mammata’b
Like Kavya-prakasa, it has its karikas, vrttis, and
udaharanas. The udaharanas are, however, all composed
by the author liimself in praise of Nara-siinha, king of
Utkala or Kaliiiga.
Vidya-dhara wrote another work, called Keli-rahasya,
a copy of which is in the library of
Vidyiirdha^a^s^ Keii- Asiatic Society of Bengal. It is
a work on love, and an abridgment
of a larger work called Rati-rahasya.
Ekavali takes a good deal of space in dealing with
the utility of mahgalacarana. Then, it deals with the
advantages derived from writing poetry. In this por-
tion, Vidya-dhara follows in the wake of Kavya-prakasa,
Then it paraphrases and explains the opening verses of
the Dhvani-kara, and ends the first unmesa like that
master-work with the following words : — Tasmat asti
dhvanih. Ayam ca vastvalamkara-rasadi-rupataya bha-
van na traividhyamativartate. Vastu-dhvanir alamkara-
dhvanih rasadidhvanis ceti.”
ccxcii
PREFACE.
In the second Unmesa, Vidya-dhara deals with the
three functions of words and their meanings. The third
Unmesa deals with dhvani. In these two Unme^as he
paraphrases and explains Kavya-prakasa.
The fourth Unmesa is taken up with the subordinate
position of dhvani. The author does not seem to accept
ordinary verses without dhvani as kavya. In the fifth
Unmesa, he treats of the gui>as and ritis. According to
his ideas, there are only three gunas and three ritis
and he thinks that the other gunas and ritis are included
in these.
In the sixth Unmesa, he treats of tlie dosas and the
remaining two Unmesas are devoted to the enumeration
of different figures of speech.
The whole work is a clear exposition of the dhvani
theory. It says : —
Dhvani-pradhanam kavyatn tu kanta-sammitam iritam i
Sabdarthau gunatam nitva vyahjana-pravanain yatah 11 1. 6.
E^a Vidya-dharas tesu kanta-sammita-laksanam I
Karomi Nara-simhasya catii-slokan udfiharan II I. 7.
Though it does not take any note of dramas and
dramaturgy and does not much concern itself with the
classification of pravandhas in Maha-kavyas, etc., it goes
over the whole field of rhetoric and poetics; and the
value of the work has been greatly enhanced by Prof.
Trivedi’s notes, especially by his appendices.
Com-
The work had the advantage of being commented
on by the well-known commentator
Malli-natha, who is generally placed
at the end of the I4th century. I
need not expatiate here on his various commentaries,
Malli-nfttha’s
mentary.
PREFACE.
ccxciii
as they have been given in Prof. Tri-vedi’s introduction
to Ekavali, P. xxiv. Malli-natha not only commented
on poetry and works on rhetoric, but also on Tantra-
vartika of Kumarila in mimamsa ; wrote the Prasasta-
pada-bha^ya-tlka on vaisesfka and the Tarkika-rak^a-
tlka. He also wrote a work entitled Raghu-vira-carita,
fragments of which have been discovered, but not the
whole.
One of the reasons why I have placed Ekavali
earlier than Pratapa-rudriya is that Malli-natha com-
mented on the Ekavali, while his son, on the Pratapa-
rudriya.
Ekavali by Vidya-dhara has been placed at the end
Dateofv.dya.dhara. ^^6 13th and in the beginning
of the 14th century by Prof. K. P.
Trivedi and Sir R. G. Bhandarkar, and following them
also, by Dr. S. K. De. But they have assumed that the
references to Hamvira in pp. 176, 177 and Hamvira-
mada-mardana in pp. 257 and 260 of the B.S.S. Edtn.
are to Vira Hamvira, the Cauhan Prince of Rintambore,
who is a hero of the Dihgala poetry in Rajputana; but
whose impregnable fort was taken away from him by
Ala-ud-din Khilji about the year 1303 A.D. I do not
think that they are justified in making this assumption.
Orissa on the sea-coast and Rintambore in the heart
of Rajputana can have no intercourse, — hostile or
otherwise, — in those remote ages of difficult communi-
cation. It is said that Hamvira’s biographer, Naya-
candra Suri, speaks of him as having attempted the
conquest of the southern countries. That may mean,
from Rintambore, the conquest of Hada-vati and other
small States in Malava and Gujarat, but, can in no way
mean Kalinga or Orissa.
CCXCIV
PREFACE.
Explanation of
word Hiim-vira.
the
The word Hamvira is the Sanskritised form of Amir,
any Muhammadan chief. There
is a work entitled Hamvira-mada-
mardana, published in the Gaekwad
Oriental Series, No. X. where Hamvira means S^Xhab-ud-din
Ghori who was defeated by Vira Dhavala of Dholka in
1176 A.I). The word Hamvira in the inscriptions of the
11th century in Central India meant Mahmud of Ghazni.
So the reference to Hamvira in Ekavali means the
Muhammadan Chiefs of Bengal with whom the kings
of Orissa often came in hostile contact ; — notably
Nara-simha-deva 1, about whom it is said in the inscrip-
tion of Nara-siniha-deva TV, published in J.A.S.B.,
p. 229 in verse 84 : —
Radha-Varendra-yavani-nayananjanasru-
Piirena dura-vinivesita-kalima-srih i
Tad vipralambha-karanadbhuta-nistarahga
Gahgapi nunam amuna Yamunadhunabhut II
1895,
It means that the Muhammadan ladies of Northern
and Western Bengal shed so much tears, black with the
collyrium paint of their eyes, that the Ganges became
black and waveless like the Jumna.
Nara-simha-deva 1 was a great king He erected
the temple of Konarak (verse 86). He sat in a room
made of spotless ivory. There are many indications in
the Ekavali which show that the king panegyrised in it
had much to do with the Muhammadans of Bengal.
Vahga is mentioned in p. 203, Yavanavani-ballabha,
in p. 202, and Sakadhisvara, in p. 226.
The duration of the reign of Nara-simha-deva I is
, , 33 years, i.e., from 1227 to 1260 A.D.
Nara-8nuha -hi0 patron.
So, Vidya-dhara flourished in the
PREFACE.
CCXCV
80 oond qiiarbor of the 13bh ceatury or thereabout. In
page 65, Vidya-dhara says that kavya, alafikara, mi-
mamsa, vyakaraiia, tarka, and agama entered the court
of King Nara-siinha; i.e., he patronised the professors of
these Sastras, kavya and alafikara taking the lead.
In the Rasariiava-sudhakara written by Sihga-bhupati
in the year 1330 A.D., we have in
Wviden- o of the Kasar-
nava-sudhftkara. P" ^06 “ Bho mlecclia-rasa-vadin,
utkaladhipateh Srhgara-rasabhima'
nine Nam-simha-devasya cittam anuvartamanena Vidyd-
dharem kavina badham abhyantarikrto’si. Evain khalu
samarthitam EkdvalyCim ariena etc.,’' which means
—Oh you, who declare that the mlecchas are suscep-
tible to rasas, Nara-siiriha-deva, the king of Utkala, was
fond of Srhgara-rasa and Vidya-dhara the poet, follow-
ing the bent of his master has brought you to his
side. Because he has supported this idea in his Eka-
vali.
RaSARIj^AVA-SUDHAKARA by SlNUA Bhupala
Rasarnava-audhakara by Sihga Bhupala is a work on
dramaturgy in three vilasas, viz.,
(1) The Delight of Actors,
(2) The Delight of Connoisseurs,
(3) The Delight of Action,
In the first, the author treats of the acting as well as
, of the vi-bhavas, i.e,, the dramatical
causes which lead to aesthetic enjoy-
ments. So, the author first comes to two classes of such
causes, (i) that which supports (alamvana) and (ii) that
which excites (uddipana). The next step is the classification
of the heroes and heroines.
CCXCVl
PREFACE.
Then come the exciting causes. They are of four kinds,
— excellence, action, ornaments, and
Classification and sub- accessorics. Excellence consists of
division of the excitinc iii i r j ivi
/ 11- uu* youth, handsome feature, eiiulgence,
causes (viddipana vibhS- J ^ ^ o ^
vas). beauty, charms, softness, and so on.
In this way there are subdivisions of
actions and ornaments. The accessories are the moonshine,
shower-bath, the moon-rise, the cooing of the cuckoo,
flowering-trees, breeze, bowers, underground rooms, tanks,
the sound of clouds, palaces, songs, sports, rivers, and
others. It would be tedious to enter into all the minute
distinctions of the various subdivisions of anu-bhabas.
But it is interesting to note that among the accessories
are included the ritis, vrttis, and pravrttis. The ritis are
of three kinds, — soft, hard, and mixed. The author rejects
the other ritis, — many of which have been treated of by
Bhoja. Sihga Bhupati says, they are like nuts (gadu)
and should be rejected.
The dramatic vrttis according to him are four and not
more. He derives their origin from
Origin dramatic fight of Visnu with Madhu and
Kaitabha in the Primordial water.
Singa does not admit of the mixed vrttis; for mixture,
according to him, is impossible.
The pra- vrttis relate to three things ; — language, action,
and dress and they are different in
different countries. Bharata has
elaborate sections on all these but Singa Bhffpala finishes
them in four verses. In the classification of languages he
strictly follows Bharata. But says Siffga that he does not
define these languages, because such definitions are foreign
to a dramaturgical work.
PREFACE.
ccxcvn
After finishing the anu-bhavas, the royal author deals
with the sattvika bhavas or those
The sattvika bhSvaa. . t i i •
emotions of mind which involuntarily
produces external expressions. He says, they are to all
practical purposes, anu-bhavas. But they help to produce
sattva (pure feeling) therefore they are called sattvika.
They have a dual character— both a sattvika and an
anu-bhava.
Che 2nd vilasa deals with transitory emotions (vyabhi-
cari-bhavas) ; they are 33 in number.
Many scholars, such as the author of
the Bhava-prakasana, say, there are
other bhavas also, but Sihga says that they should be
included in those 33.
Contents of Chap. 11— the
Transitory Emotions.
Then come the parmanent emotions (sthayi-bhavas)
and rasas. The royal author does not
And the permanent Emo- v i* • -t j.* i '
* believe in samslisti samkara where the
rasas have equal prominence; for he
says, there cannot be equal prominence; one must be
subordinate to the other; — ^and in that case there will be
an ahgaiigi-bhava samkara.
The 3rd vilasa treats of the ten kinds of dramas. The
nataka is taken as the model and the
The 3rd Chap. de.l« e.clu. modifications of it. The
sively with the N&^kas
and their modifications. drama IS elaborately treated. The
Prologues and Epilogues are expa-
tiated on. The acts are minutely described and defined.
The links of the story of the plot and of the drama are
explained in their fulness. The dramatic proprieties are
then given in detail.
ccxoviii
PREFACE.
One feature of Singa Bhupala’s treatment of these
things is remarkable. He is not satis-
Bhupsia’^ critKUHrn. like Other rhetoricians by extract-
ing only one verse or one passage as
an example. He quotes a whole section and shows by
analysis, how they are appropriate and to the purpose.
He often names books as examples. He seems to have
been endowed with the faculty of higher criticism of drama
like our friend Kuntala and perhaps also like the author of
Bhava-prakasana. He generally follows Bharata in all
things, but modifies Bharata’s details a good deal. Bharata
does not speak of ritis, the royal author takes the idea of
them from Hand in and like him describes the gunas along
with ritis or miirgas.
MM. Gana-pati Sastri in his preface to the Rasarnava-
sudhakara says. The work presents in a clear and
detailed form in three chapters the canons of dramaturgy
which are briefly treated in the Dasa-rupaka in four
chapters, and among the extant treatises on dramaturgy,
I think, there is no work so comprehensive and at the same
time so simple as this.’'
Characteristic of the work.
Siriga Bhupala does not seem to be the author of the
work. Some Pandita seems to have
written the work for the glorification
of the king. The Rasarnava-sudhiikara is a work on the
same line as the Ekavali and the Pratapa-riidriya, - written
for eulogising the patrons of the authors. But at this
particular instance, Siiiga Bhupala seems to have given
some directions to the author. In the work a good deal of
information is given about the king and his ancestors.
There was a family named Recalla
the teet of
Vi^nu and so uterine brother of Gahga.
PREFACE.
CCXCIX
In this family was born one Dacaya Nayaka whose wife
was Vocamamba born of the Lotus family. Dacaya
Nayaka won a victory over the Pandyas. He had three
sons: -(1) Sihga Prabhu (2) Vennama Nayaka, and
(3) Peca Mahi-pati. The 3rd Peca Mahhpati had a son
named Nagaya Nayaka Avho by his prowess acquired the
epithets of Kathari Raya and Rrdintta Raya. For further
particulars of the ancestry of Siuga Bhupala see Sesa-giri
Sastri’s Report T, No. 22.
The first Sihga Prabhu established a number of
Brahmanas at Tlesvara, near Kisnalesvara. lie had two
sons, — ^Ananta and Madhava. The second was the pro-
genitor of the chiefs of Veda-giri. The first, Ananta, also
called Annapota, constructed a staircase for climbing up
the Sn-parvata by conciliating the brahmanas with profuse
largesses. His queen was Annamamba by whom he had
two sons, — one, the lord of Deva-giri and the other, Sihga
Bhupala. Sihga had six sons of whom only three are
mentioned: — (1) Yannapota, (2) Ballablia Raya, and (3)
Dacaya Bibhu. The hereditary capital of the famil}^ was
at Rajacala. Sihga was the lord of all the lands lying
between the Vindhyas and the Sri-parvata.
In the last but one verse in the 2nd vilasa, Sihga
Bhupala is described as the conqueror of the Gahgeyas, i.e.,
Gahgas of Orissa.
Professor Sesa-giri Sastri in his Report on the search of
, Sanskrit and Tamil Manuscripts in
Date of Siug« BhupftJa. __ ^
1896-97, gives Sihga Bhupala the
name of Sihgama Nayaka and fixes his date in 1330 A.D.,
on the authority of a biographical sketch of the rajas of
Vehkata-giri. He came, therefore, about 30 years later
than Pratapa-rudra of Odaiigala. He was perhaps a tri-
coc
PREFACE.
butary of the Kakateyas of Andhra, but escaped molesta-
tion from the generals of Ala-ud-din on account of the in-
accessibility of his territory.
Nataka-paribha^a, or an explanation of the technical
terms of dramaturgy, written by Sihga
Nataka-paribhaaa. (1.0. n/r i ^ i n* .
Gatai 1201 ) Mahi-pati, — perhaps tlie same as rnnga
^Bhupala to whom the Rasarnava-
Budhakara is attributed, — is a short work wholly in sloka
metre. The royal author hopes that this will be helpful in
writing dramas. He has used the works of previous
authors in composing this work. The author speaks of two
languages, viz., Sanskrit and Prakrit, and is of opinion
that the fourteen Vibha^as are useless in a drama because
they want refinement.
Pratapa-rudrIya by Vidyanatha.
This is a work on poetics by Vidya-natha, patron-
Pratapa-rudriya alao is^d by the 7th King of the Kaka-
written in the wuke of toya dynasty named Pratapa-rudra.
Kftvya-prakssa. Same ground as
Mammata’s Kavya-prakasa, but, often makes incursions
on grounds not traversed in that great work. For in-
stance, in the Ist prakarana, Vidya-natha speaks of the
classification of the heroes and heroines. In the 2nd
prakaraiia, he deals with the divisions of poems; in the
3rd, of drama and dramaturgy. Like Ekavali it sings the
praise of Pratapa-rudra in all the examples throughout
the work; and it does more. In the 3rd prakarana it
gives a model drama, describing his conquests and his
coronation. Many of the Sabdalafikaras of Bhoja have
been treated of in the 2nd prakarana of this work, among
the gunas, and some among the characteristics of Kavya,
shcl^ as, riti, vytti, sayya, and paka. The special feature
of tbe work is that all the examples are the original
PREFACE,
CCCl
composition of the author and they are all in praise of
the patron, Pratapa-rudra. From this fact, the work is
generally called Pratapa-rudra-yaso-bhu^ana or simply
Pratapa-rudriya, though in Prakarana I, 3, the author
seems to have named his work Kavyalahkara-sanigraha.
In the 3rd or Nataka prakarana, there is a model drama
written by the author himself on the coronation of Pra-
tapa-rudra entitled — Pratapa-rudra-kalyana, and divided
into five acts: -I. Kalyana-svapua, 11. Vijaya-yatra-
vilasa, TIE. Vira-rudra-vijaya, IV. Tvarita-mahotsava,
V. Pratapa-rudra-rajyabhiseka.
The dramatist sets this forth as a model drama and
analyses its different parts and explains various tech-
nical dramatic terms. In this chapter he follows the
Dasa-rupa of Dhanahjaya and rarely ever speaks of
Bharata. By the analysis, he has done a great service
to scholars,— showing the different constituent parts of
a drama as the acting proceeds. We know nothing
about the author except the fact that he has composed
this work on poetics.
His age is determined by the inscriptions of his
patron Pratapa-rudra, the 7th King
Hih ago.
of Odangala or Eka-sila-saila. These
inscriptions range from 1298 to 1317 A.D., but his reign
must have lasted several years both ways. Prof. Trivedi
in a foot-note to page xxii of his introduction, says on
the authority of MM. Gana-pati Sastri that Pratapa-
rudra started an era, the initial year of which is 1277
A.D., and in every almanac in southern India the
era is still noted. Pratapa himself was a literary man,
and a patron of letters. He was not only a warrior but
a conqueror also. His inscriptions are found at Canje-
varam, Trichinopoly, and Bezwada. Though the model
cccii
PREFACE.
drama gives him credit for conquering even Kasmira^
Nepala, Kliandesa, Kamboja, and so on, — nearly the
whole of India, — most of these are purely conventional.
Bengal was then a Y:)owerfnl kingdom under the eldest
son of (bas‘iid-din Balban. Ala-ud-din Khilji was the
master of the whole of Hindustan and sending armies for
the conquest of the Deccan and southern India. In spite
of his bravery and skill in war, Pratapa-rudra after
resisting several attmnpts of the Muhammadans on his
Kingdom had to succumb and to be carried as a pri-
soner to Delhi, though his kingdom lasted for another
250 years.
Prof. K P. Trivedi’s edition of the work with
Kumara-svamin’s complete commentary and another in-
complete commentary and with several appendices is a
very creditable performance. Prof. Trivedi has done
another very great service to scholars and the Alahkara
literature of India generally by publishing in one of
these appendices the work of Bhamaha.
Trivedi differs from Nara-siinha Achariar in thinking
that Bhamaha preceded Dandin.
Chronology of authoi.s Vidya-iiatlia seems to think other-
wise, k'or, though in his I, 2, he
salutes Bhamaha, in a seemingly chronological list of
quotations in page II, — he mentions Damlin first, Bha-
maha second, Udbhata third, Sahitya-mimarnsa fourth,
and Bhoja fifth.
Pratapa-rudra-yaso-bhusaiia has a commentary by
p,atsp»-iudi« com- Kuniara-svamin who is said to be
mented upon by Kumara- the SOn of thc Well-kllOWn COmment-
ator Malli-natha. Kumara quotes
PREFACE.
ccciii
three times his father Malli-natha’s Tarala commentary
on the Ekavali. He also quotes from various otlier
commentaries of his father. His commentary on Pra-
tapa-rudriya is called the Ratnapana, ix., the Market
of Jewels. He is generally placed at the end of the
I4th centiiry, or in the beginning of the 15th. His
commentary is very useful as it quotes a large number
of passages witli references.
fSAllITVA-DARrANA BY ViSVA-NATllA.
Saliitya-darpaua by Visva-natha is the most remark-
able work on Sanskrit rhetoric. He
Definition of Kavyu ni
the Sahitya-darpana.
describes himself as the Sandhi-vigra-
hika or minister of Peace and War of a
king of Orissa. He also describes himself as the Malia-
patra or Finance minister and as proficient in eighteen
languages. But the most interesting epithet, he assumes
in the colophons, is Dhvani-prasthapana-paramacarya,
^.6., he led the dhvani theory to its legitimate conclusions.
He is an out and out supporter of the dhvani theory. He
examines the definition of Kavya of his predecessors and
rejects them. He, even, criticises the definition of kavya
by the dhvani-kara himself and rejects it. His own
definition is simple, and very superior. It says, Vakyani
rasatmakam Kavyani”. Where there is no rasa, i.e., no
aesthetic enjoyment, there is no Kavya. Even Mammata
could not rise to this height. To him a Kavya is ‘‘Tad
ado.^au sabdarthau sagunavanalamkrti punah kvapi
Mammata seems to have been afraid of rejecting the
definitions of his predecessors. Dandin defines Kavya
as “ T^tartha-vyavacchinna padavali ”, Bhamalia, as
“ Sabdarthau Kavyam,” Vamana, as “ Ritiratma Kavyas-
ya,'’ and the Dhvani-kara, as “Kavyasya atma dhvanih”.
The old idea of writing works for the discipline of com-
CCCIV
PREFACE.
position, either in poetrj’^ or in prose, stuck to the Alahkara-
sastra almost to the end. But, Visva-natlia with a true
appreciation of poetry gave Kavya a definition which is
on all fours with poetics. In this definition, he takes no
note of rhetoric or discipline of composition.
The 1st pariccheda of Sihitya-darpaua is a bold
attempt to show what Poetics proper
Chapter T. ^ ^ ,
is ; and Visva-natha has done it with
a spirit of reverence and not of defiance. He speaks of
Marainata as his upajivya or siistainer, though he has
not spared to criticise him.
Chapter II.
The 2nd pariccheda treats of vakya or sentence as the
principal constituent element in a
Kavya, and not sabda and artha,
i.e., words and their meaning, as in other rhetorical works*
He treats of sabda and artha as subordinate to vakva.
The 3rd pariccheda is taken up with rasa. In this
chapter Visva-natha discards sattvika
Chapter HI— taken up blifivas altogether. They are, accord-
with rasa.
ing to his opinion, included in the
anu-bhavas. The bi-bhavas and the anu-bhavas help in
the manifestation (vyakti) of rasa. Is it the same thing as
light manifests things in a room ? ‘‘ No,” says Visva-
natha. “ They are there already.” The word manifestation
here means just as milk is manifested in dadhi by assum-
ing a new form. In the explanation of the two words
‘samyogat’ and ‘ni^patti’ in the Bharata-sutra, Abhi-
nava-gupta summarises four theories : (1) utpatti-vada,
(2) anumiti-vMa, (3) bhukti-vada, and (4) vyakti-vada, —
the last propounded by Abhinava-gupta himself. Visva-
natha does not take notice of the other theories, but
PREFACE.
CCCV
accepts the last and explains it. In this pariccheda,
he not only explains rasa, but also gives the classification
of heroes and heroines as a part of vi-bhavas. He defines
anu-bhavas including the sattvika bhayas and the transit-
ory bhavas.
Visva-natha classifies Kavya in the 4th pariccheda.
Chapter IV — classification
of Poetry.
He says that there are two sorts of
Kavyas : (1) in which dhvani prevails,
and (2) in which dhvani plays a subor-
dinate part. He altogether discards poems in which there
is no dhvani.
In the 5th pariccheda, for the enjoyment of {esthetic
delight, Visva-natha discusses a 4th
Chapter V . p . p i
vrtti or function of words, viz.y Rasana
by which rasa is enjoyed. But Visva-natha thinks it
is not necessary, vyahjana will do what is required.
In the 6th pariccheda, Visva-natha classifies kavya as
(1) that to be seen, and (2) that to
Chapter VI— Drsya and heard. That to be seen is drama.
Sravya.
Different classes of poetry. Visva-natha has a new feature in
the classification of dramas. Besides
}he ten rupakas of Bharata and Dhanahjaya there are
eighteen upa-riipakas, while the Agni-purana speaks of
jeventeen of them. The poems to be heard are either
n prose or in verse. Poems in verse may again be one-
rase, two-verse, three-verse, four-verse, or five-verse
poetry. Then comes the Maha-kavya, divided into sargas,
their number being 8 or more. The word sarga is not used
in prakrt but asvasa, skandhaka, and galitaka. The word
ikhyana is used in epics by R^is. When the Maha-kavya
i» written in an Apabhramsa dialect, the sargas are called
OCCVl
PREFACE.
Kadavalcas. A Khanda-kavya is only a fragment of a
kavya. Bundles of detached slokas are called Kosas.
The prose is of 4 kinds : (1) free, (2) smelling versification,
(8) having rise and fall, and (4) powdered. Examples : —
(1) where there is no samasa, (2) with fragments of verses,
(3) with long samasas, and (4) with short samasas. Prose-
poems are classified as akhyayikas and kathas ; and mixed
poems are called Oampu, Viriid, and Karambhaka where
there is more dialects than one. Visva-natha himself had
a work named Prasasti-ratnavah in which there were
16 dialects. (VI 531.)
ehHi)t< 'r Vli - treats of
(iefocts.
The 7th pariccheda deals with defects (dosa) of (1)
words, of (2) constituent parts of words,
of (3) sentences, of (4) meanings, and
of (5) rasa. At the end of the paric-
cheda Visva-natha speaks of the instances in which a dosa
may turn into a guna. In this section he treats of the
])oetic licenses.
The gunas are enumerated in the 8th pariccheda.
They are three in number, viz., sweet-
Ohapter VITI. • ... . . .
ness, spiritedness, and perspicuity.
The ten gunas of other rhetoricians are included in
these three. The writer does not acknowledge the ex-
cellences of meaning.
Chapter IX.
In the 9th pariooheda, Visva-natha treats of riti, or
the method of putting words together.
They are according to him four; (1)
Vaidarbhi, (2) Gaudi, (3) Pancali, and (4) La^ika. Previous
rhetoricians never laid down any principle by which to
distinguish between figures of speech pertaining to wm^
and those pertaining to meaning. But Visva-n&tha
PREFACE.
cccva
down that where the figure remains unchanged when the
words are changed, the figure pertains to the meaning of
words; and where it cannot stand the change, it per-
tains to the words themselves.
It is curious that even a bold thinker like Visva-natha
has included the pictorial verses or
His father.
poems among figures of speech. But
he rejects Prahelikas and duskaras.
At the end of the work Visva-natha says that his
father’s name was Candra-sekhara. His father, he has
described in another place, as sandhi-vigrahika, and as
mahapatra. He was regarded as proficient in 14 lang-
uages and a Maha-ka vis vara.
Fifth in ascension from him was Narayana. He
was a connoisseur of poetry and
Hia ancestor, NSrSyana. i ^
regarded as an authority by connois
sours. He was a bolder thinker than Visva-natha. H(
said that strikingness is the essence of rasa, and, therefore
adbhuta is the only rasa.
cccviii
PREFACE.
had been the mother of the next king as do the
inscriptions published in 1895-96.
Internal evidences.
Vi8\?a-natha’s date, I think, should be fixed at the
beginning of the 14th century for the
following among other reasons : —
(1) He speaks of Ala-ud-din Khilji in a way which
none but a contemporary can do. A treaty
with Ala-ud-din means ruin and a war means
extinction. There can, therefore, be no
war or no treaty with him. So Visva-natha
says in his vrtti that cession of territory
or gift of money is the only means of deal-
ing with him.
(2) There is a MS. of the Sahitya-darpana in
Kasmira, mentioned in Stein^s catalogue, said
to have been copied in Sam 1440=1384 A.D.
That requires that the work should be written
by the beginning of the 14th century.
(3) His father Candra-sekhara speaks of King
Bhanu-deva whose queen was Uma. As
there is no queen of that name given in
the inscriptions, we cannot assume that
King Bhanu-dev^a had no queen of that
name ; for the Oriya kings generally married
many wives.
(4) In the beginning of the 15th century, Mr!li-
natha’s son, Kumara-svamin quotes Sahitya-
darpana twice in his commentary on the
Prat&pa-rudra-yaso-bhu§ana, pp. 246 and
248, B.S.S.
(5) His father Candra-sekhara in praising BhEnu-
deva, may have written that verse in that
PREFACE.
CCCIX
king’s time, i.e., 1261-1278 A.D. In that
case, Visva-natha would come either in the
reign of Nara-sirnha TI or Bhanu-deva II.
He thus becomes a contemporary of
Ala-ud-din Khilji and there remains no
difficulty of his work being copied in 1384
A.D.
(6) In his commentary on the l^avya-prakasa,
in which Sahitya-darpai.ia is quoted, Visva-
natha refers to a Nara-siniha-vijaya-kavya
by himself (S. K. De, Vol. I, p. 237). His
father speaks of Bhanu-deva and his queen.
So Visva-natha’s Nara-sirnha must be
Bhanu’s son who is said to be Kavi-priya
in the inscriptions, — the second king of
that name.
There is a Candi-dasa who is credited with moot-
ing a new idea of Khanda-rasa and
Candi-dasa. ^ * *
is described by Visva-natha as the
younger brother of his grand-father at the end of the 7th
pariccheda of Sahitya-darpana. Some say that this is the
Candi-dasa, the lyric poet of Bengal, which is absurd;
some again say that he is the commentator of Kavya-
prakasa and his commentary is called the “Dipika.
This may or may not be, for there is a Candi dasa, a
Mukherji, who in the 15th century wrote a commentary
on Kavyaprakasa. He was the head of a Pundit family,
eleven generations of which are recorded in the Grammar
Section of this catalogue dealing with the grammatical
school of Samk^ipta-sara. He was represented at a great
assembly of the Brahmins of his denomination near Kalna
in 1482 A.D. where he was included in the endogamous
group called the Vahga-mela.
cocx
PREFACE.
Dhanna-flattn.
Tn the Sahitya-darpana we find, a Dharma-datta
quoting with admiration a dictum of
Narayaria, the great-great-grand-
father of V^isva-natha on adbhuta rasa. Dr. De says
that Dharma-datta was vanquished by Narayai.ia in the
court of >jarasiinha-deva IT (?). It is strange, however,
that Dharma-datta should turn into a great admirer of
his opponent.
Of the four commentators of the Sahitya-darpana
the most popular is Rama-carana
Hama oarann Vorka Tarka-vagisa, who wrote ill the year
viglea, commentator of jx •• i
viava-nathH. 1701 A. D. Hc WHS a Ohattcrji and
his liome was at Raya-bati, t liana
Ray ana, in the Burdwan district. Sixtlj from his brother,
Kali-carana, was Prema-cad Tarka-vagisa, the well-known
professor of rhetoric in the Sanskrit College, Calcutta.
Rasarnava by Prakasa-Varsa.
Prakasa-varsa’s Rasarnava has been recently pub-
lished in Th(‘ Indian Historical Quarterly as a Supplement.
The editor V, Vehkata-rama Sarma thinks, Intro, page X,
"‘it is possible to say that Bhainaha and Dandin are
dependent on Prakasa-varsa and hence Prakasa-var^a
must have flourished before Bhainaha and Dandin and
after Bana Bhatta, i.e., between 650 A.D. and 750 A.D.”
Sarma has taken pains to show that many of the ideas
of these two authors are similar to those of Prakasa-
varj^a. But that does not show dependence nor pos-
teriority ill time. The sabdalahkaras of Bhoja seem
to have been exploited by Prakasa-vars^a in his work.
Dr. De says that Prakasa is later than Bhoia. He thinks
that “this work (Rasarnava) also s influence of
Bhoja (Srhgara-prakasa). It is a rec composition.”
PREFACE.
CCCXl
Bulletin of the school of Oriental Studies, Vol. TV, Part
II, p. 283.
Sarma is rii^ht in thinking that Prakasa is later
than Bana-Bhatta because Prakasa directly mentions
Bana (III. 87). But he is not right in thinking that
he is earlier than Bhamaha. He (quotes directly from
Maliahhamaha, /.f., a larger recension of Bhamaha.
Just as Manii, Vrddha-manu and Vrhan-manu are
different, recensions of Ma-nu, so aj‘(^ Bhamaha and Maha-
bhamaha different recensions of Bhamahas work. If
Prakasa quotes from Maha-bhamaha he (j notes a later work
than Bhamaha s original work and so he must be much
later than Bhamah than if he had simply quoted Bha-
maha. Is Sarma justified in inferring the existence
of two Bhamahas from the facts detailed by him ? As
regards the priority of Dandin to Bhamaha I have
already said my say in the earlier part of this preface.
1 think with Dr. I)e that Prakasa is a later writ(T.
Devenora or Devbsvara.
Kavi-kalpa-lata by Dev(^svara, son of Vagl)hata,
minister to a king of Malava, is a
Kavi kaipa lata. on the training of poets. The
work is a lata or creeper and it has four bunches of flowers,
(stavakas), — containing four, five, six and seven flowers
respectively. (See our Catal. Nos. 4794-4798A.)
(1) Sabda, (2) Slesa, (3) Katha, (4) Artlia.
(а) Practice of vorsi- (a) Description of (a) The Attention of (o) The subject
fication. things. Kings. matter.
(б) Ordinary words. (6) Colouring. (6) Hymn to the Gan- (6) Strikingneas.
(c) Arrangements of (c) Miscellaneous. ga. (c) Diagrams.
letters. (d) Numbering. (c) Name of God. (d) Simile.
CCOXll
PREFACE.
(1) Sabda, (2) Blesa, (3) Katha, (4) Artha.
{(i) Alliteration (e) Usage (d) Conversation with (e) Metaphor,
Brahmins {/) Solution of ri<i-
(e) Description of dies.
tanks, etc. (g) Riddles.
(/) Defiancti to the
opponents.
This is not a subject proper to rhetoric or poetics ;
but the Sanskrit rhetoricians from very ancient times
include this Kavi-siksa, into their sastra, and later, it
has become a branch of the sastra with several rami-
fications.
Dr. De says that Devesvara has pilfered and plagiar-
ised from the works of Amara-caudra
Amara-candm and An- Ari-simlia. Their joint work is
BUnhtt.
named Kavya-kalpa-lata or Kavita-
rahasya. Ari-siinha’s father wrote a poem in honour
of Vastu-pala about the year 1242.
Dr. De thinks that Devesvara was a contemporary
of Hamvira Cauhana, prince of Rin-
Date of Devesvara.
tambore from whose hands Ala-ud-din
wrested that impregnable fort at the end of the 1 3th
century A.D., — because in a riddle Devesvara praises
Hamvira-mahi-raahendra. I have shown before, the
futility of identifying every Hamvira with the Hamvira
of Rintambore, for Hamvira in Sanskrit in those days
meant a Muhammadan chief.
Devesvara described himself as son of Vagbhata, a
minister of Malavendra, and we know
from history that Malava was annexed
to Gujarata in the middle of the 13th century, and
Gujarata was annexed to the empire of Ala-ud-din in the
very beginning of the 14th century. Where could a Mala-
vendra be at that period ? I would therefore propose that
Devesvara was the son of Vagbhata, minister to a King of
Malava belonging to the Khilji dynasty at the end of
the 14th century. These Khilji kings used to employ
Hindus as ministers. I have shown in the Grammar
portion of this preface that Pufija-raja, the grammarian,
was employed as a minister by one of the Khilji kings
of Malava, named Gias-ud-din Khilji. He is not Gias-ud-
din Tughlak as I have said in Oatal. No. 44119.
Appava DIksita.
Appaya Gik^ita’s Kuvalayanaiida has already been
d(‘-alt with in connection with Jaya-
( 'itra-riiTiuiiiiisfi. i > ^
deva s Candraloka. He wrote many
other works ; one of which, Gitra-mimamsa was for a long
time regarded as anonymous. It has now been settled
that it is by him. It is a work most likely left incomplete
by the author. It has no claim to originality. The
author admits two classes of Kavyas,— dhvani and guru-
bhuta-vyahga, and rejects the third, viz., Oitra of Kavya-
prakasa. As in Kuvalayananda, in this, too, alahkaras
are more fully dealt with. (Catal. Nos. 4874-4877.) It
has a commentary by Bala-krsna Faya-guride (487 S).
Laksya-laksann-sam-
graha.
Another work by the same author is Laksya-laksana-
samgraha. It is a short work dealing
with laksaiia. The contents have
been mostly taken from Candr/ oka;
a few new slokas have been composed. The object of
the work is to help young beginners in understanding
rightly the Alahkara sastra. (Our Catal. No. 4888.)
Our Catalogue has another work by the same author.
The work is called Vrtti-vartika and
Vrtti-v6rtikam.
IS an argumentative work on the three-
CCCXIV
PREFACE.
fold imports of words, abliidha, laksaua and vyanjaiia, —
as accepted in Kavya-sarani and by rhetoricians. But
there are points in which the ancients are not clear, and
here our author wants to make them clear. Our Nos. 4897
and 4(S98 ]>oth contain two chapters only, but Aufrecht
speaks of a third chapter on vyakti.
In all these works there is very little of originality.
But their clear exposition and luc idity
in expression made them very popular
and also evoked a good deal of hostile
criticism. Jagan-natha Pandita-raja condemns the author
as a slavish imitator of Rucaka and Jaya-deva. -lagan-
natha himself wrote a work named Citra-mimainsa-klian-
dana. The Kuvalayananda had also many hostile
criticisms.
Bluma-seiia wrote a work named Ivuvalayananda-
kfiandanam or Alaiikara-sara-sthiti,
Kav»layanand,.khan.
(iana. '
fault with some of the new alahkaras
invented by Appaya and some old alahkaras as explained
by him. Bhima-sena flourished in Jodhpur during the
reign of Ajita-simha, the son of Yasovanta-simha who
died in Kabul about the year 1680 A.D. Blhma-sena
in his commentary on Kavya-prakasa also had his flings at
Appaya Dik.^ita.
Our Catal. No. 4896 says that some panditas misled
by their respect for Kuvalayananda do not see things
properly though there is the Kavya-prakasa to guide them
in the proper way. Therefore, a criticism of that work
has become necessary, and the number of alahkaras should
be put down at 61. At the end, the work says that the
number 61 has been accepted by Deva-natha Tarka-
paheanana, Maha-mahopadhyaya Govinda and Jaya-rama
Nyaya-pancanana. Rajendra-lala in liis L. 1447 calls this
work Eka-sasthyalahkara-prakasa. In this (Catalogue
it is registered as Kuvalayaiianda-khandana.
These hostile critieisms had th('ir retort. Nila-kantlia,
a relative of Ap])aya, attem])ted a
( ornnmntutora on Appa. (P^oiice of Ihs woiks and wroto Citra-
ya 9 works
mimainsa-dosa-d hikkara. Appaya.
however, was v^ery fortunate in his eomm^ntators. Men
like Nagoji Bliatta, Vaidya-natha Tat-sat, Asa-dhara
and Ganga-dhara Bajapeyin w(^re commentators of Kuva-
layananda ; and Dharananda of Bharata-pura commented
upon the (^itra-mimamsa.
According to Maha-lihga Sastri, Appaya flourished
between the years 1520-1539 A.D.
Appaya s date. Malia-Hhga Sastrfs article,
“ More about the age and life of Srimad A])paya Diksita ”,
fJ.O.R., vol. Ill, part I.)
Alankaras by the ( 'ait any a sect.
The (^aitanya sect in Bengal cultivated tlie alahkara
sastra in many of its phases. Rupa
uupaaosv.min and diva ^^^tc Nataka-caiidrika, a
Gosvamin.
work on dramaturgy (4934A), and
Ujjvala-mla-mani (4904A), a work on rasa which again
has a commentary by his nephew, diva Gosvamin.
But the great work embracing all the topics of
alahkara was written by Parama-
Kavi-karrm.pur« and his
^ i? n* -
Kavi-karna-pura), the son of Siva-
CCCXVl
PREFACE.
nanda Sena of Kancra-para 30 miles north of Calcutta, in
the middle of the 16th century. Loka-natha Cakra-vartin,
wrote a commentary on this work. All the illustrations
are the original composition of the autlior and they are
aJl in praise of Krsna. The name of the work is Alahkara-
kaustubha. The word kaustnbha means a gem hanging
from the neck ; so tlie (dia])ters are called kiranas or rays.
Idle work is our No. 4870 and the commentary 4871
by Loka-natha Cakravartln. Kavi-karna-pura goes over
many of the topics of Kavya-prakasa and has a
chapter on riti.
Kavi-karna-pura was a voluminous writer. He has
written dramas, epic pocuns and ho traced the associates of
Caitanya tlirough many incarnations of Visnu in his
Gaura-ganoddesa, i.e.. Traces of the associates of Gaura.
There is a commentary named ""Didhiti-candrika by
V rnda- vana-candra Tarkalahkara
Nfttaka-candnka. / . r* n
Cakravartin, son of Kadha-carana
Kavindra Cakravartin (I.O. 1195) who bows at the feet
of Kavi-karna-pura.
AlaukSra kauHtfibha.
( 1 . 0 . 1196 .)
Another work named Alahkara-kaustubha by Visve-
svara, son of Laksmi-dhara Suri, is a
modern work professing to give many
phases of alahkaras. It treats of
only arthalahkara from a variety of works. It has an
abstract entitled Alahkara-muktavali for the use of
beginners (Mad. 12792).
In his Nataka-candrika, Rupa Gosvamin accepts the
idea of Bharata and Singa-bhupati and rejects those of
Visva-natha Kavi-raja as opposed to Bharata. This sect
PREFACE.
CCCXVll
staged many dramas and so tliey required a work on
dramaturgy of some sort ; and Rupa gave thejn his
Nataka-candrikfl. But he was a good scliolar and followed
Bharata though he arranged his book according to his
own idea.
There is another work entith‘d Alankara-kaustubha
by Kalyana Subrahmanya Suri which
(lefiues the alahkaras given in the
^Jandraloka and illustrates them by
examples of his own composition.
Alankaru-kmiatubha.
(Mad. 12790)
There is another work of the same name (Mad. 12785)
by Vehkatacarya of Tiruniala-bukka-
Alaukara-kaustnbha. ,, ,, i i j i i <•
(Mttd 12785 ) pattana. It says that the hgures of
speech, both pertaining to words and
to their meanings together make the number 108. The
writer bidongcd to tfie tSri-saila family. Sri-nivasa gave
him the title of Tarkalahkara-vagisvara, and encouraged
him in writing this work.
Alahkara-sekliara by Kesava Misra is tlie first work
^ mentioned in the present Catalogue.
Alarnkara-soklmra.
Tlie author was an expert in Nyaya
and Vedanta. He wrote seven works on alahkara but
these were a hard nut to crack to those who did not know
much of Hindu philosophy and, therefore, he was induced
to write a work in easy and flowing language and that
is Alamkara-sekhara.
The author’s patron was Manikya-candra who was
an expert in kavya and alamkara. In order to advance
the knowledge of the first principles of alahkara he
asked Kesava Misra to write this book. Mai.iikya-candra’s
father was Dharma-candra and grandfather Rama-candra.
PREFACE.
3ccxviii
riiis Rania-candra, in a terrible war, between a great
ind impetuous Sultan of Dellii and the rising king of
Kabul, (lis])laved feats of valour and killed millions of
men. Sliortly after, finding the eartli polluted with
putrid human bodies, and finding his eiu^niies, by falling in
war, gone to lieaven, went himself there in order to conquer
them onc(‘ mor(\ Tlie war mcuitioned here is that between
Ibraliim Lodi and Babar in 1526 A.D. and the death
of Rama-candra took place in 1528 A.l). The country in
whicli Rama-candra reigned is not givcMi in this work,
l>ut it is known from the fiftli Vohim(‘ of (!umiing-
ham’s Arclueologieal Survey Report, Pag(' ir)2. that he
reigned at Jalandhara. His son Dharma-candra reigned
there from 1528 to 1562 and came in contact with Akbar,
who took the old raja in his favour. Manikya-candra b(‘gan
to ]*eign ill 1565 and continued till 1571. This Manikya-
candra was the patron of Kesava Misra.
Kesava Misra based his work on the sutras of one
whom he calls Bliagavan Sauddhodani. Perhaps he wants
to say that tliesi^ sutras wcr(‘ by Lord Buddha himself.
The sutras are not written in siltra but in karika lorm.
There are altogether 108 karikas. The work is called
Alarnkara-sekhara or the ('rown of Rhetoric. The crown
has eight gems or ratnas : —
ii
from which issued twenty-three rays or maricis, viz.^
i
^ g ii
This gives twenty-three maricis in all. But the Kavya-
mala edition records only twenty-two maricis, because
it omits to record the number 13 at the end of tlie
PREFACE.
CCCXIX
maricis of the tourtli Alamkara-ratiia, and so its number
falls short by one.
The date and place of Alamkara-sekhara being known,
it is needless to examine the work to find the chronology.
But the date and })lace of the karikas, being unknown,
require careful examination. They do not ap])ear to be
very old bticause they speak of three ritis, Gaudi, Vaidarbhi
and Magadlii, three vrttis, abhidha, iaksana and vyahjana.
T]u‘ ntis have their origin in DandiiVs work and the
thre(‘ vrttis in the karikas of the Dhvani-kara, say, by
th(‘ middle of tin' 9tl) century A.l). So, this Sauddhodani
or Bhagavan Sauddhodani cannot be Lord Buddha,
but a late writer who <;annot be ])laeed (‘arliei tlian the
1 Ith eentiiry A.D. The definition given of Kavya is
which is a very late definition.
Kesava-Misra often refers to one Sri-pada, ])erhaps,
his own Guru. But th(' ({notations are not from Saud-
dhodani’ s karikas.
One iH'w feature of this work is the direction given
to poets in the matter of describing the charm of females
and tlie valour of mah^s. In later rhetorical works
these topics are given under the head of Kavi-sik^.
Thougli Sauddliodani defines Kavya as “ Rasadimad
vakyam ” — it is curious that he deals of rasas at the
cud of his work.
Rasa-cangadhara by Jagan-natha.
The last great work on rhetoric and literary criti-
cism is Rasa-gahgadhara by ffagan-
Jagannatha’s Pedigree. i t _ n
natha Pandita-raja, the Sanskrit tutor
of Dara Sheiko, the eldest son of Emperor Shah-jehan of
cccxx
PREFACE.
Delhi. The family of the author hailed from the Andhra
country and he may be regarded an the literary successor
of Vidya-natha and Siiiga Bhupala. Jagan-natha was the
son of Peru Bliatta and Laksmi. Peru Bhatta received
his education in Vedanta from Juanendra Bliiksu, in
Nyaya and Vaisesika from Mahendra, in Mimamsa fronn
Khanda-deva at Benares, and in Sanskrit grammar from
Se^a Viresvara, son of Sesa Nr-sirnha who was tlie author
of Prakriya-prakasa. Jagan-natha was liimself a very
learned man. He wrote books in many brandies of
Sanskrit literature, noi-ably in kavya and alamkara.
His Samrat-siddhanta is a comprehensive work on
Astronomy. In Sanskrit poems, he praised Dara Slieiko,
Asaf Khan and Prana-raya of Karna-rupa. His works
on grammar have been already spoken of.
His work on alainkara is (uititled Rasa-Gahga-dliara.
Rasa is compared to th(^ Gahga and
Hasu-jraiigadhara. n/ri-i i iii
the work to Maha-deva wiio holds
the Gaiiga on his head or heads. Maha-deva is said to
have had four heads. His phallic emblem at Pasu-pati-
natha has four faces. In Nepala, the majority of phallic
emblems have four faces. The Saiva priests of Pasu-pati
hail from the Andhra country ; where the four-faced
emblem of Siva is worshipped. Ail these faces are directed
to the cardinal points -North, East, South and West,
and from these mouths flowed the tantras belonging to
the Uttaramnaya, Purvamnaya, Daksinamnaya and Pasci-
mamnaya. The fifth face of Maha-deva is said to have
been snatched away by him from Brahma and put on
the top of his heads. From this mouth flowed the
Urdhvamnaya. The modern tantrikas of Nepala speak
of another face below his chins, from which flowed
the Adha-amnaya, i,e., the Buddhist tantras.
PREFACE
CCCXXl
Jagan^natlia seems to have been a supporter of the
tradition of the four faces of Siva. He divides the
Alamkara-sastra in four ‘ananas’ or faces; they are:
(1) Uttamottama, (2) Uttama, (2) Madhyaiua and
(4) Adhama. (Kavya-mala Edition, p. 5.) As regards
the fifth lie says, “yadyapi yatrartha-camatkrti-sainanya-
stinya sabda-camatkrtis-tat-pancainam-adhamadhamam
api kavya-vidhasu ganayitum iicitarn ” (ibid., p. 20) and
‘‘ vastutah kavyatvabhavena maha-kavibhih praclna-
paramparam aniirundhanais tatra tatra kavyesu nivaddiiam
api nasinabhir ganitain ” (ibid., p. 20).
So Jagan-natlia did not believe in a fiftli face of
Gahga-dhara and did not write a fifth cliapter on adha-
madhama kavya.
The MSS. of Rasa-gahga-dliara and of its commentary
all end souK'where in the second ‘anana’ of his work.
The inference, therefore, is that lie was not abl(‘ to
finish his work. ^ PiTliaps the fall of Dara Sheiko and his
followers ended t lu^ literary activity of our great author.
The definition of kavya by Jagan-natha seems to
be an echo of Damlin who defines it
jagan-nfitha’s DeHmt.on Istartha-vyavacchiiia padavali.”
Jagan-natha defines kavya as ‘‘ Rama-
myartlia-pratipadakah sabdah kavyam.” He discards all
other definitions, e,g,, '’sabdarthau kavyam,” “vakyam
rasatmakam kavyam,” etc., and he comes to the pithy
conclusion — kavya-jivitani camat-karitvam cavasif^ta-
meva.” Jagan-natha has one peculiarity. The examples
he gives are all his own composition. Jagan-natha is very
hard on his own countryman Appaya Dik§ita, whose
Citra-mimanisa he subjects to scathing criticism. Even in
CCCXXll
PREFACE.
this work on rhetoric lie missed no chance of abusini^
and (Tilicisino Bhattoji Diksita.
Nafija-rtija-yaHo
bhusnna.
Nr-Hunha, tho author.
Th(^rt‘ is a commentary to the Rasa-,i>ah.i»:Mhara by
Na|LJ:(isa Bhatta (I.O. Catal. 1204).
NAN.IA-RA.IA-YASO-iniT^SANA BY Nr-STMHA.
Nahja-raja was the Olhef ministiT of Krsna-raja,
King of Mahi-sura (Mysore) in tlie
mid(ll(‘ of th(^ ISil) ccMitnry, who
usurped all the powers of tlu* King
and was tlH‘ de facto ruler in his nami‘. Nahja-raja
was the patron of Hydar Ali, who reduced him to tlie
same condition as he did his king. Nahja-raja was,
how(‘V(‘Y, a patron of letters, and Ni-
siinha kavi, son of Siva-rama, and
Disciple of Yogananda Yati, wrote a work on alahkara
every illustration of whhdi is in praist; of Nahja-raja,
his patron. It is writtcm in imitation of the Pratapa-
rudra-yaso-bhu^aiia by Vidya-natha. As Vidya-natha
wroi(^ a model drama (uititled Pratapa-rudra-kalyana
ill four acts, to illustrate the
principles and tc^chnical tiTms of
dramaturgy, and threw it into the
main work, so has Nr-simlia written
a new drama entitled (^andra-kala-kalyana and has
thrown it into the main work for the same purpose.
The author Nr-simha wrote many dramas, and obtained
the (‘pithet Nava-Kali-dasa. One of the epithets of
Nahja-i’M ja was Nava-Bhoja-raja. (See Prastavana to
the new drama.) Nahja seems to have
written a drama in Sanskrit entitled
Sahgita-Gahga-dhara, and two poems in Kanaresc en-
titled Halasya-carita and Siva-bhakta-vilasa. At the
Writ.fcen in the wake of
Pratapa-rudra yaKO-
bhileatia
Nafija's works.
r AU JU.
cecxxin
end of the work we hear of another poet Alura Tirumala
who had tlie epithet of Nava-Bhava-hhuti. He was a
friend of Nr-siinlia and perhaps was an ornament of the
court of Nanja-raja. Nr-sirnha was thi' founder of a
society of literary men and poets vv^ho were hold (uiough to
write lono pieces every day without assistance. His
father was ri'^arded as an incarnation of Siva.
Prafcjipa-rudra and
Nanja-raja".
The mo(l(‘l drama in Pratapa-rudra-yaso-hhusana had
a meaning. The reigning qu(‘en saw
in a dream th(‘ (coronation of her
daught(U’'s son. She sent the y(3ung
princ(‘ on a (‘oiupacring tour. He came back vi(‘torious and
was (axjwn(‘d, and Prata[)a-rudra was a pow(>rtul king who
('xt(‘nd(‘d his dominion all round. The drama was suited
to th(‘ occasion.
But the suitability of th<‘ Oandra-kala-kalyana is of a
dotd)tful nature. Nanja-raja went to a
The etory of the model expoditioU. SaW a l,nrl COniillfr
drama.
to worship in a temple, fell in lov(‘ with
h('T, luck brought them together but other circumstances
intervened and they separated. Nan ja-i’aja was disconso-
late and came l)a(ck to his capital wliere he was greeted
with the good news of the (conquest of Kerala and of th(‘
discovery of a hoarded treasure and also of the ca])tur(‘
of a foreign ship loaded with treasure at the mouth of the
Kaverl. But the most welcome nows that greeted him
was an invitation from Ratna-kara, King of Kuntala. to the
svayambara of his daughter who accepted Nanja-raja as
her husband and she turned to be the lady of the forest
temple. At every turn of the drama, the author of the
rhetorical work intervenes and explains the steps by
which the plot develops. This way of treatment, though
CCCXXIV
PREFACE,
it interferes with the enjoyment of the drama — is very
useful to students of dramaturgy. The work has nothing
original in it. But it surveys the whole range of the
alahkara sastra, and gives summaries of rhetoric, poetics,
dramaturgy and literary criticism. The treatment is brief
but very lucid. The definition of Kavya is very peculiar.
It says that words and their meanings constitute Kavya.
But tliese words and their meanings should be joined
together' according to the convention of poets. This
definition brings the function of words and the functions
of tlieir meanings into prominence and so come the three
functions —abhidha, laksana and vyatijana, the direct
and indirect functions and tlie reverberation. The vrttis,
ritis, sayya and paka coiner along with the treatment of
words and their meanings.
The 3rd chapter treats of dhvani or reverberation and
goes over the same ground as the 4th and 5th chapters of
Kavya-prakasa.
Rasas aJid bliavas have a separate treatment in the
4th vilasa or chapter of this work.
The 5th chapter speaks of gunas and dosas, the fith
of dramas, and the 7th of the alankaras.
The work is in the process of publication in the
Gaekwad Oriental Series; but I have got the advance
forms by courtesy of the General Editor.
Other works on Alankara noticed in our
Catalogue.
Rucaka besides his Alankara- sarvasva wrote another
work called Sahrdaya-lila (our Nos.
4853 and 4854). This work was
Sahrdaya*Mft.
rJKJQjJj'AUJjJ.
CCCXXV
hitlierto undescribed. Four elements constitute the supe-
riority of men and women, viz,, (1) the handsomeness
of the person, (2) ornaments, (3) life and, (4) surround-
ings ; and there are four chapters in this work, called
UUekhas, treating of these four elements. Those who
know the elements are called nagarikas or fashionable
people.
Alahkara-ratnakara by Soblia-kara-mitra is a work
on rhetoric (Our No. 4865). Sobha-
AJajjkarn-ratnakam,
kara was the son oi Bhatta-trayi-
svara. Biihh^r thinks that it is a work later than Vimar-
sini. — Jayaratlia’s commentary on Alahkara-sarvasva. It
has sutras on fignr(^s of spe(‘ch numbering 107. Yasaskara
wrote .D(Ai-stotra for illustrating each of the sutras
of Sob])a-kara ; and Ratna-kantha in the middle of the
17th rentury (vvplained how a verse of the hymn explained
a sfitra. Th(‘. work containing the sutras, the stuti verses
and udaharana-samanvayas is called the '^Alafikara-
ratnakai’odriharana-sannibaddhadevi-stotram.” (Our
No. 4850.)
Our (jatal. No. 4857 entitled (^andra-karika is a
very interesting work ; because the
1 .mdra-kanka. * ^
author was a Buddhist named Ratna-
sri-jfiana wlio hailed from Ceylon. The MS. has been
found in Ncfial. The author begins his work with an
invocation to Sambuddha. He says tliat the meaning of a
word may be either jati or kriya or dravya or guna or
nama. Tli(‘ author wrote the work at the earnest request
of l)<‘va-datta. If there is any merit in writing the
book, let the Avhole world become Buddhas by that merit.
He thinks that the knowledge of sabda and artha leads
to the attainment of true knowledge, whether you desire
terrestrial or celestial bliss.
CCCXXVl
PREFACE.
Varna-ratnakara by Jyotirisvara Kavi-sekliara who
lived* in the reign of Hari-simha of
Vania ratnAkaia. Mitliila at the beginning of the 14th
century, is also a remarkable book. It gives directions
to the poets how persons and things are to be described.
It is not in Sanskrit ; it is in old Maithili which ( an
scarcely be distinguished from old Bengali both in lan-
guage and in script. As the work is a ratnakara or o(*ean,
it is divided into kallolas or waves. The autlior is credited
with writing many works — one of wliich is Dhurta-
samagama, written for the purpose of giving a grand o\ a-
tion to Hari-simha for his victory over the IVIuhammadans.
Another of his works is Pahca-sayaka, a av ork on erotic s.
Varna-ratnakara gives direction to the poets how a
city is to be described, how a lieroine is to be described,
how a season is to be described, how a cremation ground is
to be described, and so on. It gives the names of tlu^
traditional 84 wizards and an exhaustive enunieration
of lower castes. (Our Catal. No. 4857A.)
Kama-samuha is by Ananta who Avas the son of
Kama-Humuha.
Tri-mandana belonging to tlie Blia-
malla family. (Our Catal. No. 4859A.)
The object of the work is the same as that of the previous
one, viz,y to give directions to poets how to describe
the beauty of a woman in a poem. It describes situations
in love, the youth of a lady, her hair, her eyes, her breasts
and so on. The author says that he has churned the
ocean of Kama-sastra to get this nectar of enjoyment. It
was composed in the Samvat year 1514" 1457 A.D. Tri-
mandana was a practising physician. He is called a
Bhii^ah-mukutalahkarahara and Vaidya-vara. The date
is here given as stated in the MS. — “ Samvat pahcadase
prapte candra-veda-pravatsare.”
PREFACE.
cccxxvii
Ananta describes liimself as Nagarabhyantara (in I.O.
1242), i.e., he was a Nagara •Brahmana belonging to
Nagara or Ananda-pura in Gujarata, the Brahmanas of
which are divided as abhyantara and vahya, i.e., inner
and outer.
Kavya-vilasa.
Ciranjiva was the descendant of one of the five Brah-
mins brought to Bengal by Adi-sura.
He is well-known to the panditas of
Bengal as the writer of Vidvan-moda-tarangini. He also
wrote a work on rhetoric named Kavya-vilasa, described in
our Nos. 4901 and 4902.
Ciranjiva belonged to the Kasyapa gotra. His fatlier
could pay attention to hundred things at one and the
same time. His name was Raghu-deva and for such
concentration of mind he was called Satavadhana, The
author takes the definition of rasa from old writers, but
the illustrations are his own. As the work is called
Vilasa, it has many bhahgis.
Alahkara-mahjari, a short treatise on rhetoric,
designed for those who have not much
Alankara-rnanjarl. i i ^
time to spend at it, is by Nirmala
Bhatta, son of Vallabha Bhatta of Benares (Nos. 4903-
4904). The work runs through 4 leaves and has 41 vcTses.
It treats of alahkaras only— specially arthalahkaras.
Alahkara-samgraha (4906), Kavya-candrika by Rania-
candra Nyaya- vagisa (4906-4909 ) ,
Short works. Kavya-kaumudi (4910-4911), Anyokti-
muktavah by Soma-natha (4912), Bandha-kaumudi by
Gopi-natha (4915) are short modern works on rhetoric
which have been described in the Catalogue.
OOCXXVlll
PREFACE.
Kjivi-sarani-dipika.
Rat ncs vara wrote Kavi-sarani-dipika, He was a
quick versifier. He gives the names
of five of his ancestors. He was
pained to find well-dressed good men sitting dumb in
a8sem})lies. So he wanted to give them some instructions
that tliey might be a])le to take part in the assemblies.
His Dipika or Lamp lias five Udyotas or Rays : —
( 1 ) Conjugational and Declensional, (2) Syntax, (3) Versi-
fication, (4) Gender, and (5) Poetry.
The author of Sahitya-ratnakara is Dharma-sam-
khyavat. As a ratnakara or ocean,
Srxhttv.i-ratnakarH . ’
it has many tarahgas or waves. All
the illustrative verses arc' in ])raise of Rama. It is
complete in tcm tarahgas, the last of which deals with rasa.
The work generally follows the wake of Kavya-prakasa
though the arrangement is cpiite different.
The father of the author was Parvatesa, ]:)roficient
in all the six philoso])hies of the Hindus, and his
mother was Yellamamba. The author himself was profi-
cient ill all the fourteen sastras. He wrote Krsna-stuti,
Ravi-sataka and sevc'ral dramas, he also wrote on Kavyas
and alahkaras.
For a fuller description of the work see the Trien-
nial ( 'atalogue of MSS., Vol. I, Part I- A, R. No. 306.
OricER Works on Alankara Noticed m Other
Catalogues of MSS.
Sahitya-kautuhala, a versified manual of poetic com-
position by Yasasvin Kavi, son of
Gopala and Kasi, with a commentary
by the author himself. The first
Sahityn -kautuhala.
(I.O 1175.)
PREFACE.
CCCXXIX
chapter is devoted to the direction for the composition of
enigmas and other artificial poetry, e.g., padma-bandha,
cakra-bandha, sarvatobhadra-mandala, etc.
Kavya-candrika.
(I.O. 1193 )
Kavya-candrika by Kavi-candra Datta, son of Kavi-
karna-pura and Kausalya, is an ele-
mentary work on rhetoric* in 16
chapters. This Kavi-karna-pura is a
different person from the Vaisnava writer of that name;
because he is described to belong to Dirghahga-grama, a
village usually inhabited by Brahmins of Western Bengal,
while the Vaisnava writer was a Vaidya by caste.
The striking feature of this work is that the author
frequently quotes verses composed by liimself, his own
grammar and his own dhatu-patha. He is said to have
written four poems.
Another work of the same name is I.O. 1194 by
Nyaya-vagisa, son of Vidya-nidhi. It
treats of rhetoric only, i.e., dosa. guna,
Another Kavya-
candrika.
(I.O. 1194.)
and alankara, for the benefit of young
learners.
The moonlight dispels the darkness of hostile criticism
of bad men. So the Alaffkara-candro-
(10 1198 ) daya is the Moonshine of rhetoric.
The author of the work is Veni-datta
Tarka-vagisa, son of Visvesvara and grandson of Laksmana .
They belonged to a family of ministers of Kasi-puri named
Naga-cchatra-dhara family. It is an elementary work on
alailkara in six chapters treating the subjects of rhetoric
and poetics.
cccxxx
PREFACE.
Natya-clarpana is by Sundara Misra professing the
Sama-veda. It was composed in 1613
A.D. The author often refers to his
drama named Abhirama-mani, com-
At the end he says : the minor class ot
number — may be studied from other
works. What these other works are, we do not know. He
himself treats of two classes of minor dramas, the Totaka
and the Sattaka.
Xatya-darpflua
(I.O 1199.)
posed in 1599.
dramas— 15 in
Alahkara-samgraha by Amytananda Yogin was written
at the instance of King Manva-
A laiikSrn 'SO mgraha . i r t>i * .*.*
(Mad 1 ‘>794 ) samiidra, son of Bhakti-bhumi-pati
who was a devotee to Siva. The
king asked the author to give in one treatise rhetoric,
poetics, dramaturgy and literary criticism, i.e., all the
different branches of learning included in the Alahkara-
sastra.
There is another work of the same name (Mad. 12796)
which enumerates only alahkaras.
(Mad 12796 ) autlior 8 name is not given in the
catalogue.
Alahkara-sarvasva has a commentary entitled °San-
Aiarikara-safijivanF jivaiii by bri-vidya Cakravartin who
(Mad, 12799 .) wrotc a Commentary on the Kavya-
prakasa also.
There is another Alahkara-sarvasva on poetics and
rhetoric. The author’s name is not
known but we understand that the
work was written in praise of a king
,\Iarikara-8arva8va.
(Mad. 12798.)
named Gopala.
PREFACE.
cccxxxi
Kavi-samaya-kallola is written by Anantacarya, son
of Singaracarya. This is a very
Kavi.gamaya kaiioia modem work as it Quotes from Nania-
(Mad. 12808), . , , ^
and raja-yaso-bhu^ana. The author wrote
Ersua-raja-yaHo-dindiraa. another work entitled Kr^na-raja-yaso
dindima from which he quotes in this
work. The ^Dindima is a work on alahkara, the illustra-
tions of whicli are all in praise of Kri^na-raja whose
minister Nanja-raja was.
Kavya-darpana.
^Mad. 12800.)
Kavya-darpana in 10 ullasas by Raja-cuda-mani
Dik^ita speaks of arthalahkaras only.
He has written a large number of
works, a list of which is given in Mad.
12809: (1) Tanira-siklia-mani, (2) Nyaya-mukta-vali, (3)
Agni-hotradi-prayascitta-pradipika, (4) Nyaya-cuda-mani,
a commentary on Ruci-datta’s work, (5) Mani-darpana, a
commentary on three khandas of Mani (perhaps Tattva-
cinta-mani), (6) Srhgara-sarvasva — a Bhana form of
drama, (7) Bhoja-campu, the yuddha-kanda of which was
written in one day, (8) Bharata-campu, (9) Vrtta-tara-vali,
(10) Sahkaracarya-tara-vali, (11) His father’s biography
whose name was Sri-nivasa and who performed Vis va- jit
sacrifice, (12-14) The stories of Rama, Kr^na and
Vasava were written like the Vasava-datta with sle^a in
every letter, but unlike it in verse, (15) The story of Sita-
pati in sweet words, (16) A poem on the rise of Sankara,
(17) Kamsa-kavya, (18) Rukminyudvaha, (19) A natika
entitled Kamalini-kala-hamsa, (20) A nataka entitled
Ananda-raghava, (21) Alahkara-cuda-mani, (22) Citra-
manjari with VHti-viveka. *
The genealogy of the author is given in Madras 12495,
in his drama Ananda-raghava : —
CCCXXXll
PREFACE.
Kr^na-bhatta
I
Bhava-svami-bhatta ~ Laksmi
Satya-mangala Ratna-klieta Sri-nivasa Diksita- Kainaksi
Ardha-narisvara Diksita Raja-cuda-mani Dlksita
(pupil of bis brotlier and the
author).
Tlie drama Ananda-ragliaxa is said to ha\e been
staged in the court of Raghu-natlui-nayaka, son of
Cinna-cevva Acyuta-raya. Reference is made to Raghu-
natha-bhuf)a-vijaya of Yajna-narayanadhvarin. The
author had two step-brothers wlios(' names werc^ Kesa\a
Dlksita and Se^adri-sekhara Diksita.
Kavya-laksana
(Mad. 12H29.)
Kavya-laksana is an anonymous work on th(^
characteristics of ])0(‘ms and dramatic
com])ositions of different; kinds. It is
a useful book about the classification
of poems and dramas. It says that Virudavali and Tara-
vali are names of yKiems in which dhvani ])lays but a
small part.
Dasa-rupaka-vivarana is not a commentary as the
name would imply, but an independent
treatise on the characteristics and
classification of dramatic composition.
Kuppu-svami Sastri suspects that it jirobably formed the
Daw-nlpaka-vivarana
(Mud. 12892.)
nafiaka chapter of a comprehensive work on rhetoric and
poetics like the Pratapa-rndriya. The author’s name is
not given.
PREFACE.
cecxxxiii
!Rama-candra-yaso-bhusana is written by Kacclia-
pesvara Diksita. It is a work on tlie
Rama-c^dra-yaao- dramatic rasas, the illustrations of
(Mad. 12950) whicli are in praise of Bomma-raja.
The author was a native of Bralima-
tlesa, a village in the north Arcot district. His fatlu'i- was
Vasu-deva Yajva and his grandfather was Kala-hastisvara
Yajva.
Laknana-dTpika.
(Mad 12951 )
Lak^ana -dipika is by Gaura-narya, son of Ayaina-
prabhu. He was the brotluT of Mita-
raja who was the minister of Sihgaya
Madhava, a king of flu* Reealla
family. The work is also called Prabandha-dijhka or
Padartha-dipika. It is a work rnon^ on poetics than on
rhetoric.
Laksana-mSlika.
(Mad. 12953.)
Laksaiia-malika is a work on alahkara. It tr(‘ats
of rhetoric, poetics, dramaturgy and
criticism. It has a commentary en-
titled Alahkarendu-sekhara by Nr-
simha of the Sri-saila family. The commentator has an
original treatise on rhetoric of th(^ same name (Mad.
12978). It is a work on poetics and rhetoric and has five
chapters: (1) Heroes, (2) Poems, (3) Rasa, (4) Guna and
•do^a, and (5) Alahkaras. The author was the son of
Dharmacarya.
Sahitya-kallolini is by Bha^ya-karacarya who was
born in the family of Varada-guru
belonging to Vatsa-gotra and was a
resident of Bhuta-pura. It is not a
work on rhetoric, nor on poetics. The subjects dealt with
are: (1) classes of treatises, (2) small treatises, (3)
Sahitya*kallolinT.
(Mad. 12994.)
CCCXXXIV
PBBPAOB.
treatises which appeal to the eye, (4) acting and dancing,
(5) subject-matter, (6) sandhi, (7) heroes, (8) commence-
ment of dramas, (9) dramas, (10) minor dramas, (11)
poems.
Sahitya-cinta-mani is attributed to Vira-narayana. It
has karikas and their prose explana-
tions. Vira-narayana is also the hero
of a carita by Abhinava Bhatta Vana.
It is a work on rhetoric and poetics. The work is
addressed to Vira-narayana.
Sahitya-cintia-mani.
(Mad 12905.)
Alahkara-nikasa eulogises the virtues of Sudhindra
Yogin, a follower of the Madhva sect.
It is a work on arthalahkara. The
author says that he follows the
opinions of the ancient and modern writers.
Aiaukara-nikaBa.
(Mad. 12976.)
Though published in the Mysore Sanskrit series,
I may mention here the Alahkara-mani-hara, a large work
exclusively on arthalahkaras with commentary. Both
the text and the commentary are very modern.
Works on Rasa.
In this catalogue there are many works on ra§a, or
Srhgara or Ujjvala. Some of them
Kalyana-kallola. * i i i i . .
are generally regarded as belonging to
the Kama-sastra; but others may have a place among
works on poetics. Those that may fall in poetics treat of
love to their fill, leaving very small space for other rasas.
They are generally of a monotonous character, devoting
more space to the amorous description of heroines than to
anything else. Of these works, there is one which historic-
aUy deserves mention. It is called Kalyana-kaUola written
PREFACE,
CCCXXXV
for the delectation of Kalyana Raya, son of Todala-malla,
Finance Minister of Akbar. It was written by Giri-dliara.
This work, too, treats more of love (Srhgara) than of the
other rasas. The author says, the rasas are nine to which
bhakti should be added. So according to one’s taste one
can devote oneself to any rasa.
In this catalogue there is a short section devoted to
letter-writers ; the first of which (our
Letter writers. 4933) is attributed to Vara-ruci,
one of the nine gems in the court of Vikramaditya. But it
borrows many Persian words ‘ nabis,’ ‘ kurfia,’ and quotes
from modern works like Padya Kadam-vari. Ancient
Indian kings were very fond of virudas, i,e,, high sounding
epithets ; so Viruda-vali, i.e., a collection of virudas always
had a place in letter-writers as the sui^erscriptions of
letters addressed to a king should contain all his Virudas
or epithets.
Tlie study of Sanskrit Alahkara is regarded as dry,
uninteresting, abstruse and difficult.
I’hp Study of Alankara. . . _ , -
Rhetoric is regarded as a science of
nomenclature, and as such, it is open to the charges
given above. If this is true for rhetorical works in
other languages, it is truer in the case of those in
Sanskrit, for the authors of Sanskrit Alahkara-sastra
have joined together, or rather, jumbled up four differ-
ent sciences in one. Much interest will bt; felt if they
are separated and separately studied.
The four sciences are: —
(1) Rhetoric proper — meaning a discipline for com-
position in Sanskrit or in Sanskritic lan-
guages, either in verse or in prose. This in-
cludes chapters, on doga, guna and alahkara,
i.e., defects and excellences of composition,
and figures of speech.
-CCCXXXVl
PREFACE.
(2) Poetics — a discipline for writing short or long
works of imagination and fancy either in
prose or verse. This includes the chapter on
kavya or poetry, the best criterion of which
is dhvani or suggestion, better perhaps, rever-
beration. It presents a pleasurable sensa-
tion of mind which is not easily shaken off.
(3) Dramaturgy— a discipline for play-wriglits which
includes, in (2) dances, acting, and music,
both vocal and instrumental. This section
is meant more for appealing to the eyes
than to the ears.
(4) Criticism of Poetry — tlie latest addition to tla^
Alankara-sastra made hi tlie 9th, 10th. and
11th centuries. It is not so mucli a disci-
pline as an appreciation. It' is meant for
training the critic, not so much the poet.
But, later authors of the sastra liave tried to mix
np two, three or all the four of them together. Not to
speak of other works, Kavya-prakasa mixes u}) (1), (2),
and to a certain extent (4) ; and Saliitya-dar])ai>a
mixes up all the four together, and these are our best
standard work for students.
It has been sliown that rhetoric began as an humble
discipline of one-verse poetry and
Conclusion. .
short pieces and of prose composition
in the Vedas. Then came the discipline of the actors
in Nata-sutras of Silali, of Krsasva, and perhaps also
of Bliarata. But during the ascendancy of the Brahmins,
the Nata-sutras were relegated to the Sudras, and
classical Sanskrit took no notice of tlicse sutras for centu-
ries. In the meanwhile, the discipline was confined to
prose compositions, royal writs, business letters, documents
PREFACE.
CCCXXXVll
and to controversial literature (the Tarka-sastra, Katlia-
sastra or Vada-sastra).
The earliest treatises on rhetoric were confined to
dosa, guna and alankara, defects, excellences, and
figures of speech. These treatises mentioned dramas
but never treated of them. But when great Brahmins,
educated Ksatriyas and even emperors began to write
dramas, their claim could no longer be overlooked.
The two ideals of discipline were blended together and
tl)e blending produced the tlicory of dhvani which includ-
ed tlK‘ ideal excellence of a drama, viz.^ rasa, and the
idt\a1 excellence of rlietoric. The word dhvani is often
translated in English as suggestion. But dhvani in-
cludes much more. When a bell or gong is struck, it
produces a great sound, but gradually the sound dies
out in spac(‘ and time. This is what is called dhvani,
dliva liana, vyanjana, anu-ranana. etc., r.c., the sound
reverberates. Transferring this idea to mental and moral
world apart from time and space, it produces many
changes — some rapid and others gradual. The rapid is
called ‘rasa' and the gradual, ‘dhvani,’ though they are
in reality one and the same. This is the highest idea
to which Indian rhetoricians and pocticians reached.
This is certainly different from the mere discipline of
the rlietoricians.
At this period, the epic and other poems also
attracted the attention of critics. They took cognisance
of poetry which appeals to the eye (drama, etc.) and of
poetry which appeals to the ear; and the critics began
to define poetry in a variety of ways — each succeeding
definition being an improvement on the last. Old rhe-
toricians defined poems as sabda and artha; some as
‘‘ sabdarthau sahitau.” From this ‘ sahita ’ comes sahitya
cccxxxviii preface.
which means all sorts of literature. But when dhvani
was declared to be the soul of poetry, sabda, or sabda
and artha did not suffice in the definition. So Visva-
natha in the 14th century defined it as ‘ vakya ’ or
sentence, the soul of which is rasa. This bold innovation
produced hostile criticisms. But all the same, every
one had to admit the force of vakya, directly or indi-
rectly, and of rasa.
The rapid development of dhvani is ‘ rasa,’ and rasa
hitherto meant the dramatic rasas numbering 8 or 9 of
which love was the chief ; and some of the critics
gave so much prominence to love that it became diffi-
cult to distinguish poetics from erotics. At this period,
most of the works on poetics began fo be named with
the word Rrhgara, e,g., Srngara-prakasa, Srhgara-tilaka,
Srhgara-manjari and so on. But a reaction came and Visva-
natha’s grandfather Narayana declared, Rase sara-
camatkarah,” i.e.. Wonder is the essence of rasa; and he
as a corollary declared, ‘‘Sarvatrapy adbhuto-rasah,” /.e.,
Wonder is the rasa everywhere. This was still the prevail-
ing literary criticism in India, when one great writer, Jagan-
natha Pandita-raja recoiled at it and declared that words are
kavya. But he gave an adjective to those words, viz.,
‘‘ Ramaniyartha-pratipadaka ” which resulted in the dic-
tum — ‘ Camat-krti-mat kavyam,' i.e.. Wonderful words
are kavya, and he is the last original writer of literary
criticism in India.
On the top of this, may be considered the dicta of
the 12th-century critics that aucitya and saubhagya are
the highest aim in poetry. Aucitya means harmony in
the poem itself and saubhagya, harmony with the sur-
roundings. Thus the aim of poetry is harmony all round ;
and anything jarring against harmony is the greatest
defect in poetry.
PREFACE.
CCCXXXIX
Acknowledgments.
This long Preface has come to an end and it is now
my pleasant duty to acknowledge the encouragement,
advice, help, and assistance which I have received from
various quarters. My principal acknowledgment is due
to Mr. Johan van Manen, Secretary to the Asiatic
Society, Bengal, for his constant, careful and untiring aid
in giving to the Catalogue a presentable shape. He has
suggested improvements in a variety of ways to make
the work useful, instructive, and easy of reference. My
acknowledgments are further due to Dr. Upendra Nath
Brahmacliari, tlie late, and Lt.-Col. R. B. S. Seymour
Sewell, the present, President of the Society, wlio showed
great anxiety to enable me to finish the entire work
within my life-time, which is drawing rapidly to a close.
My acknowledgments are also due to my old assistants
Pundit Asu-tosa Tarka-tirtha, who is no more, and Babu
Nanl-gopal Banerji, who has left the service of tlie
Society and is now floiirishing in the Dacca University,
for the way in which they wrote out the descriptions
of the Manuscripts under my direction for nearly 10
years, from 1911 to 1920. My acknowledgment is also
due to Pundit Aghora Natha Bhattacaryya for check-
ing the descriptions of the Manuscripts in the proof of
the Catalogue.
Haraprasad Shastri.
26, Pataldanga Street,
Calcutta, the I3th August, 1930.
DESCRIPTIVE CATALOGUE OF SANSKRIT
MANUSCRIPTS.
ASIATIC SOCIETY OF BENGAL,
Volume VI.
(A) VYAKARANA,
I. PANINl.
astadhyayt.
42KC
8604.
NundikeSvaru-kaSiha.
With its conmmtary
Substance, country paper. 13x4^ inche.s. Folia, O. Linos, 9, 10 on
n page. Extent in slokas, 200. Character, Nagara. Complete.
Complete in six leaves. Nevei* described properly.
It begins : —
See Aufrccht Cat., Cat., p. 276.
( 2 )
4213A.
6543. ?RTfw i
Kasikd or N andikesvam-hdsilcd.
By Nandikesvaray with a commentary hy Vpamanyu.
Substance, country-made paper. lOJ x 3.J inches. Folia, 9. Linos,
on a page. Extent in slokas, 130. Character, modern Nagara. Appear-
nco, fresh. Complete.
The text consists of 26 slokas, giving a mystical inter-
)retation to the fourteeo Siva-stittras -the al])habnt as
liven in the beginning of Shlhanta-kaunuuli.
Beqinning : —
hh; I
(Commentary : —
’rrr: ftr^Tsr ^ro^'sfTTr i
l^lSiTj STITcI II \ II
firt I
tupji srf5^%srtfl3i ftrwaiT^ ii ii
’T^’jiacii w*t I
f^5lt 9]TOJCtfiT ^wfct II ^ II
TT tsf ^pfiwNi^w fr5r!ii-fr!r^-«»n*iwmft5r
^ -s* '■
6 ' s»
% (a) gaH^tf^^:^nwfnf«iaT»iT-
JTwrai ara awr«i
afs^5l'Si> sftigar
^ 5rr<r«f^ i
T. 1, sganaai^ aetT*r^TSi>
’far? sqjl aa^nfattn i
)sa^f^3T5j
*cafswff' fua^^sitain « t, i
( 3 )
Comm., ^s[:, etc., etc., etc.
T. 2, sef4^^ i
fni^RWlfir: sum ^+’5^;: II
T. 3, *(<4^ I
yT«r«i ii ^ ii
T. 2(), ^rsstfguT 1
^^JTT(*tT gjTftf?tinw%?;K'9 »
Comm., cfT^Tcftwt ^TftrfcT 5^-
fir^rx^^T^jf HSrVt gfir^riTTiTT i
Tirrx:: fimm ^rf^frr wJTixftEifcTf^f^ to?? i
( ^olophon : —
^tfe%^r3frTfir^T^rTfcfr^fwftr=5lXH^^^T
I
See Burnell 41 A where the number of the Karikas is
hven as 27. W. 1627 contains Upamanyu’s commentary.
4214.
2197.
Pani /^^-6’ uttra-pathah .
Substance, country-made j)a 2 )er. 0x4 inches. Folia, 52. Lines, 11
)ri a ])Mge. Chnractor, Nagara. Aj^pearance, discoloured. Complete.
Colophon : —
?:af[55]nTS2rnTgi ^nsr: n
rfs ^^TTTS: ?WTH: I
Post Colophon : —
TfH «?TTH! I
4214A.
9879. The Smm.
Substance, country-made paper. 11x6 inches. Folia, 28. Lines, 8
on a page. Extent in slokas, 336. Character, Nagara. A^^pearance, fresh.
A fragment.
( 4 )
4214B.
1 1 104. The Same.
Hubslaiioo, oonntry-made papor. 10^x4^ inches. Folia, 30. Lines, 0
on a page. Character, modern Nagara. Appearance, fresh.
From the beginning to the beginning of the fourth
pada of the fifth adhyaya.
4215.
3195. The Same.
Bubstanee, country-made paper. 10x4^ inches. Folia, 2 to 80 and
four leaves unmarked, which are a restoration and which complete the
work. Lines, (> to 8 on a page. Character, Nagara of the cighteontb
century Ap])earance, discoloured.
(\>h>ph())i : —
4215A.
4180. The Same.
Substance, country-made paper. 0|x 4 inches. Folia, 5 to 15. Lines,
1) on a page. Character, Nagara of the eighteenth century Appemr-
ance, discoloured.
From the beginning of the third pada of the first
chapter to the end of the second chapter.
4215B.
4180F. The Same.
Substiuice, country-made paper. 9| x 4 inches. Folia, 20 to 92
of which 34 to 37, 50, 58, 05, 08, 86 are missing. Lines, 6 on a page.
Cliaracter, Nagara of the eighteenth century. Appearance, discoloured
Incomplete.
Foiitaining 3/3/20 to the end of the sixth adhyaya only.
42150.
4180G. The Same.
Substance, country-made paper. 9x4 inches. Folia, 12. Lines, 7
on a page. Character, Nagara of the eighteenth century. Appearance,
discoloured.
From the beginning to 2/4/21.
( •') )
4216.
V arttika-pdlhah or Sutra-vdrttikam.
By Kdtydyana.
Substance, country-made paper. 9| x 4| inches. Folia, 47. Lines,
10, 11 on a page. Extent in slokas, 920. Character, Nagara. Appear-
ance, tolerable. Complete.
Colophon : —
TftT aRmiHsr®??! I ^WTfWPii
tlSj: I
For a description of the work see Lgr. p. 113, No.
673 (7).
On a comparison with the Varttika-patha as printed
in the appendix of the Hiddhauta Kaumiadi at Bombay in
the Saka year 1815, the present work appears to be a
shorter recension of the Varttika-patha as given there.
It begins thus in the printed text ; —
giirrTTr^^TfjB i
( f?rs I ^ I 5 iT^snrf^
I e so^sjsr^Si Tfn vrs^BxftJnff i <
aafJTiigmcf i ® i tri’l yfri %ti^t
I t f*nm! i a^ i
a^ffil %T>P^ I t,*? ^ simii w^sgaaH! i
afaafn: i t,8 5^^= i \i •n erfga: i a^wnt«t^
I t,® I ^q % i l ! I 1,4
i \o i
^cngstxfeqf^f^afirwtEni^qt: i ftrisw i
•n««q^sncr ftf^frfer %<T afa^s i ^8 fwipafxj
aWTtrfiB! I
mT’m ( a \ ) II
( 6 )
The present manuscri})t begins thus : —
# ira?tT?T *iw: I SW! I
=«r "v wt^'^^T^sfVrg^r lefa ,
I *t %Tr^t«rflTaif: ^WTftr BRfT
i ?iT^ij?:fnqiw3Rt
I wrraw i wif? i
The printed text ends : —
8 1 «i«r II vo^ti «iT^®ra S^mfTqSR^Ttr 15??= I
?f?iT TiTfni%t. ^1 y^o^t
ft'iffftrav: I y o^o «n^9r^ ‘^fiisf^ra ^rwnitrrJnw i ito^t fe:s 5
I y,«>t^ ^!^^f^'?9tT<f >3tfHST5lt iTlT^a: Xflffll^: ffljgJT I
■5SI«fiT5^ra= I
Tile ])resent manuscript ends: —
v «i iraii^^fstfirT’f MJr^ff; 1%:sfnfcT i
4217.
440r). iri f l^ y*»t »T^T *n ^ ^^ l Patanjala - maha-hhdsyam.
Suhstance, country-made paper. 13^x6 inches. Folia, 131. Lines,
9 on a pajre. Character, Nagara. Date, Samvat 1899. Appearance,
fresh. Incomplete. To the end of the first pada of the first adhyaya.
Colophon : —
Tf% ^sR^niflTT-
Hm uwran?r^ tr«r% xn% ’T<ffl*TTfsg*« n
Post Colophon : —
^irrilyf ^ ’rtilyr f*r5crfBru^»rT^ i
srm ^fi»pn^irtT5i f «
( 7 )
4218.
9144. The Same,
Substance, country-mado paper. 12x4 inches. Folia, 102. Lines,
11 on a page. Extent in slokas, 5,000 Character, Nagara. Appearance,
old and legibly written.
The third pada only.
(Jolophon : —
yfe ir«rn
infs^ II II ^rum: ii
srfl: I
4219.
4.571. The Same.
With Kaiyata’s Bhasya-pradipa.
A complete (;opy of a lithographed edition of Palahjala-maha-bhasya
with Kaiyata’s Hhusya-pradipa. lOJ x7 inches. Published at the Vidyo-
daya Press, Benares.
The lirsi two chapters are complete in 413 leaves ;
III in 114; IV in 92; V in 81 ; VI in 106 ; VII in 137 ;
and VIII in 73.
Kept in three bundles.
4220.
7890. The Same,
With Kaiijaia's Pradlpa in Tri-paiha form.
Substance, country-made paper. 13x(H inches. Folia, 16. Charac-
ter, modern Nagara. Appearance, fresh.
A fragment containing I, 1. 1, only.
4221.
3297. I Maha-hhasya-pradlpah.
A C 07 nmentary on the M ahd-bha>sya, hy Kaiyata.
Substance, country-made paper. 12 x inches. Folia, 48. Lines,
9, ]() on a page. Character, Nagara of th<‘ nineteenth century. Ap-
pearance, discoloured.
The first three ahnikas and the beginning of the
fourth of the first padji of the first chapter.
4222.
1152. I
M ah(i-hhdf<yn mi\\ Pradipa And Uddyola.
A.
Substance, country-made paper. 10| x5 inches. Folia, 28, of which
foil. 10, 19 -21 are missing. Character, modern .laina Nagara. Appear-
ance, fresh.
The second ahnika of the first pada of the first adhyaya
only.
Tlie Pradipa is written above and below the Bha^ya
and Uddyota on the margins.
28B, tfir
iirnT^ fifcftvjRTfjni flJTTfr^ i
1TT% I
Tfp nrsiaff-
an% ai^ i
Two leaves of the same MS. belonging to the first
ahnika, marked 18, 19. are also here, and one stray leaf of
the same work.
( 9 )
B.
Substance, etc., the same as above. Folia, 5. Lines, 1.3 on a page.
Character, modern Jaina Nagara of the eighteenth century. Appearance,
mouse-eaten.
The begimiing of the Maha-bhasya.
4223.
46b. or I
Bhasya-'pradlpodyota or Patanjala-hhmya-jJradlpa-
vivaranam.
By ISIagoji Bhatta.
Short leaves numbering 158 without the text, con-
taining a little less than the first pada. The other
portions have the text of Kaiyata’s Pradipa. The second
portion ends i
The third portion ends i
1 The fourth portion
I Pada II is complete in 89. Pada III is complete
in 68. Pada IV is complete in 112. i
I ff -f + !
A good deal of Uddyota has been printed in the
Bibliotheca Indica.
8503.
4223A.
V yMiyadarm-tippam,
By Kamalakara Bhatia (Golinga).
Substance, country-made paper. 11x5 inches. Folia, 7. Lines, 17
on a page. Extent in slokas, 270. Character, Nagara of the eighteenth
century. Appearance, discoloured.
Comments on fourteen suttras, commonly known as
Siva-suttras and dealt with in the second ahnika of
Maha-bha^ya, elucidating difficult points in Maha-bha^ya,
Pradipa and Uddyota.
2
( 10 )
Beginning : —
^55^^^ aErT?ift^^*^*r- I ^cEf% lecT^r-
5n^f%cT^T ci^\i 3f\™ I
End:^-
1%«ri:in yf?fT’^TC^Trf^fci\WT^T>^i^-
Colophon : —
4224.
()42. 1(1 I B(d)da-kavMfd)halK
By Bhailoji Dlksifa,
For the manuscript see L, 1464.
Aufrecht is wrong in thinking that Sabda-kaustubha
is a commentary only on the first pada of the first
cliapter of Panini’s stittras. Tlie present manuscript con-
tains among others the following colophon :—
124A, xf^
The MS. contains the commentary on the second and
the third chapters of Panini and from IV, 1. 25 to the
end of the fourth chapter. It also contains 13 leaves
giving the commentary on 3. 2. 1-14 suttras ; 3 leaves
containing 3. 2. 111-131, and 3 leaves containing suttras
III, 2. 151-177, and 44 leaves from the beginning of the
second adhyaya to the end of the second pada of the third
adhyaya.
In the course of being printed in the Ohaukhamba
series.
( 11 )
4224A.
642A. The Same,
8ubstan(;e, country -made paper. 9x4 inches. Folia, 44, of which
the 40th to 42nd are missing and the 20th double. Lines, 13 on a page.
Character, Nagara. Date, Samvat 1689. Appearance, old.
The M8. contains the third adhyaya up to the end
of tlie third ahnika of the second pada.
4225.
8865. The Same,
Substain'e, country-made paper. 11| x inches. Folia, 54. Lines,
10, 11 a ])age. Character, Nagara of the eighteenth century. Appear-
ani^e, discoloured. Incomplete at the end.
Om (lio obverse of the first leaf; —
II
4226.
1(1481. The Same.
Substanc(5, country-made paper. 13x6 inches. Folia (marked in
the middle of the right-hand side) 1 43, (then marked on the upyjor corner
ol the right-hand side) 1-20. Lines, 11 on a page. Character, Nagara
of the nineteenth century. Appearance, fresh.
Ahnikas 111 and IV only of the first adhyaya.
Ahnika 111 begins : —
It ends : —
Colophon : —
43B, ffrf
I
1 V begms : —
It ends : —
<«rT^3TT^ i
Leaf 20 Colophon : —
Tfa HWJTagTHiTaT^ ^g4*TTfif-
aim i \ I ^ \ I
4227.
10940. The tiame.
SubHtan(3e, country -made paper. 12x5 inches Folia, 112 4-04.
Lines, 12 on a page. Character, modern Nagara. Appearance, fresh to
the end of the first pad a of the first adhyaya.
Til ere arc two sets of leaves, but there is no gap
betw een them.
Last Colophon : —
TfrT
^UlTfiR 1
4228*
2906. HWT, I
Prahha, a commentary on Sahda-kanstnhha,
Substance, country-made paper. 12:1x5 inches. Folia, 63. Lines,
12 on a page. Extent in slokas, 2,300. Character, Nagara of the nine-
teenth century. Appearance, discoloured. A fragment.
The Colophon : —
For the work see I.O. Catal. No. 607.
4229.
871. ^ H i I
V aiydkarana-matonmajjana4lkd.
For the manuscript see L. 1789.
( 13 )
Bhattoji Dik^ita wrote the Sabda-kanstubha. a com-
mentary on the Mahabha^ya in the preamble of which
he says : —
After the completion of that work he Avrote 71 karikas
commencing with : —
“ II
The prese nt manuscript contains the first 35 karikas
together with a commentary by Vaiiamali who speaks of
IMiattoji Dik^ita as his guru: —
This guru is no other than Bhattoji Biksita; because
Kaunda Bhatta ii^ his Vaiyakarana-bhfisana-sara (Benares
Rdit ion) says : -
^rrlr^Tt w- 1
^\?r?vr|iT ^n^t^ETTcn: |1
These karikas number 71 of which the first 35 have
been explaiiu'd by Vanamali in this incomplete manu-
scri]:)t.
Tlie commentary of these 35 karikas is divided into
seven ullasas, and called both Vrttyullasa and Vaiya-
karana-mat onmaj j ai la .
The colophon of the fourtli ullasa in leaf 13A con-
tains the commentator’s name : —
Aufrecht says that this is a commentary on Brhad-
Vaiyakarana-siddhanta-bhusana by Kaunda Bhatta. He
is apparently misled by a statement in N.P., VII, 68: “A
( 14 )
commentary on Bhii^ana by Vanamali Misra, one of the
pupils of the author of the text.”
4230.
3797. I Fakkika-vrttih.
By Sanatana Tarkacarya.
Substaaoe, (country-made paj)er. inches. Kolia, tO. Idnen,
7 on a page. Extent in slokas, 1,300. Character, Bengali of the fifteenth
century. Appoaramcc, old, faded and discoloured. (%)inplete.
Colophon : —
Beginning :
iurl’ iriitiir i
cp^ i
■ftof (?) ^^ra-H?;<=tTSH5r: i
?ig% ii
af'si i «im w«fa fr aftfftir
g -F -f
+ -f I la: vrs^igvTT^ni ir«rRwgwTff’i
This evidently relates to the Patanjala Bha§ya and
goes over nearly all the padas of the Astadhyayi, omitting
only the second pada of the sixth adhyaya on Vedic
Svara. The padas are designated by some prominent
word in their initial suttras.
It ends : —
be ’nr5i?3jT?w
ft^rnr
-h -f 3 fw*er tw
( 16 )
^^>5! WlTTJpTJnr, ft?rtr: II
+ + + + Hf'm I
4231 .
9735. «riir%<^l I Kasika.
Being a commeiilarg on the AnUldhyayi.
By Jayddilya and Vamana.
Sub^taiioe, (‘ouiitry-made [)a|)er. 1 1 x >>\ inches. Folin, 80. Lines, 7
on a page. Extent in sJokas, 1,280. Character, Nagara. Appearance,
old. Incomplete.
To the end of the second chapter.
The work seems to have been left unfinished
Jayaditya and finished by Vamana.
See G. Biililer, Report on a Tour in Kasmir, etc.,
p, 72, and LO. Catal. 591, 592.
Biihler says “ In the (.olophons of the first four
adhyayas, Jayapida is named as the author and in those
of the rest, Vamana.”
4232 -
4734. The Same,
Substance, palm leaf. 14 x 2 inches. Folia, 60 of which the following
leaves are missing: 1, 9, 26, 44, 61 and 62. Lines, 5 on a page. Charac-
ter, Bengali of the seventeenth century. Appearance, good.
I
I I gii i
I
( «ra: )
{ IB )
iiT^, Tfa «irrfii;5ET*n aawwrr?:
?mm: I
tt^, TIT?! I
4233 .
381(). The Same.
Substanc-e, country-rnadf) paper. 16| x inches. Folia, 23. Lines,
7 on a page. Extent in slokas, 056. Character, Bengali of the fifteenth
century. Appearance, old and discoloured.
The MS. contains the thin! pada of the seventli
adhyaya.
(Jolophon ; —
Tfa ^Tf3i:^T2TT ifT^: 1
4234 *
4743. The Same.
Substance, paltn loaf. 1.5^ x 2 inches. Folia, 1 to 29, of which the
following leaves are missing : 3, 4, 7, 20, 22 and 23. Lines, 6 on a page.
Character, Bengali of the fifteenth century. Appearance, old and worm-
eaten.
UiTTWfTTRi I 4*" ftrfs: I siJi: |i
?[aRTTt ? II Tfer^ % =«f
TTct^ '^TwftTSci -5:3: ?'^TTr: TIT^ HTRtT-
% vr?a tw? i
T«Tf? I
wr5fi?T?0 I
I «»TIT^5Sn^?ff*I5fT%TS^ II
asttn^iirf! finrrwTciw || Here ends the MS.
( 17 )
4235.
8862. The Same.
Substance, country-made paper. 10 x 4 inches. Folia, 47 -f- 64. Lines,
11, 13 on a page. Character, Nagara of the eighteenth century. Appear-
ance, old and discoloured.
Second and fifth chapters; the second complete in
47 leaves, and tlie fifth in 54 leaves.
Post Colophon , : —
II
4236.
4128. or ssnir: I
KCmka-vivarana-pahjihi or Nyasah,
By Jinendra-buddhi.
Substance, country-made paper. 12^x2^ (VII, 3); 12x2| (VII, 4).
Folia, 65 (VII, 3) f (VTT, 4) 46. Lines, 6, 6, 7 on a page. Character,
Bengali of the eighteenth century. Ajipearanco, discoloured.
The MS. contains VII, 11 and VII, 4 of Jinendra-
buddhi’s Ka.sika-vivarana-pahjika.
Colophons : —
i ?i*mn
II
Post Colophon : —
^.unrf^sirnrt ’shttft! i
Post Colophon : —
(?) rv ii i
'* 14376
( 18 )
The entire work is in the course of being edited by
Babu Srisccandra Cakravartti, B.A., Dacca.
4237.
4027. The Same,
Substance, country-made paper. 19x3| inches. Folia, 91. Lines,
6 on a page. Character, Bengali of the eighteenth century. Appearance,
(jld and discoloured. Two fragments — one, marked 1 to 32 containing the
sub-comment, to the fourth pada of the eighth adhyaya, the other marked
33 to 91 containing the sub-commentaries on 7. 2. 1 to 7. 2. 103.
The (blophon of tlie eiglith adhyaya runs thus : —
Post Colophon Statement : —
4238.
3196. I Nyasa-samgrahah.
By Gangii-datta.
Substance, country-made paper. 9ix4| inches. Folia, 13. Lines, 7,
8 on a page. Character, Nagara of the eighteenth century. Appearance,
fresh. Incomplete at the end.
It begins : —
^ffqfgjtrsirq »W! I
qt^qi'O'OJir w sExaqftff^ifVsnf^xT i
uxqT "q II \ n
JTf T?%*r ^»mT i
ii q «
ftw: ?r3(fT^ irwTYTO^nnirt^ i ^Riaxi^TfirifrqTni
stft^xxx«Jxfqf^x ffqsxxj s^xxxxr# Tfix qx wf? i
( 19 )
It seems to be based on Kasika-vrtti-nyasaof Jinendra-
buddhi.
4238A.
3819. I Tantra-pradlpah .
By Maittreya Raksita,
Substance, country-made paper. 16x3\ inches. Folia, 111. Lines,
■ii on a page. Extent in slokas, 400. Character, Bengali. Date, Saka
1()01. Appearance, old, discoloured and dilapidated. Complete.
Colophon : —
Post Colophon : —
Kdited by Babii S. i\ ('akravarti.
4239.
264. I Ra^pratyahara^mandanam.
Substance, country-made paper. 8^ x 4| inches. Folia, 8. Lines, 12
on a page. Extent in §lokas, 190. Character, Nagara. Appearance,
tolerable. Complete.
Tt is an argumentative exposition of the Panini-pra-
tyahara-sutra It supports on the line of
Patafijali and Kasika-kara.
Tt quotes (1) Kaiyata, (2) Madliava, (3) Hara-datta
and Bhattoji Diksita.
It begins : —
5URr* i
( 20 )
li ends : —
8A, ’farrcif^
watTi' g argsnftr^ Tara= ^ifirsfr^ra aa
rm::” leai'^ ?^anTKTlTw Hafir tfir m^ra
aiTfsrarTaiT^:®'!* an^ia^ ana T?:aar%fif fa^ i ^a
a^cft anwiTTtTHTaa w xai^ araa Tfa aa^fta
xfir araxw^ a^*ftfa aai^fa ^?rHTHjTa>a% xfir
ar^rgiiigai aaret: a:a HTHnfaHsaiw-
fffaatgffiCHTa "a HTTHi^HHawRa ana^ta^
f^aai^wWa a a;a aataiT; xfa htjhhiwt^ firgniar
fanraaW i
Colophon : —
xfa a naimriHJBaH i
Post Colophon ; —
H>aa \t.(1)i arrarf g inHifirnnHa i
4240.
1722. The Same,
Substance, country-made paper. \Z\xb\ inches. Folia, 4. Lines,
14, 15 on a page. Character, Nftgara. Appearance, tolerable. Complete.
See above
Here the author’s name is given as Pathaka Rama-
candra. His father’s name was Pathaka Murari and his
younger brother was Pathaka I ak^mana.
Colophon: —
xvimrv^m i
Then etc., etc.
( 21 ;
4241.
873. I Gaja-suUra-vyakhyd.
By Siva-mmeMdra Yati.
For the manuscript see L. 1792.
the 67th suttra of the third section of Panini’s
first, book is called here Gaja-siittra.
The present exposition of the suttra aims at the
refutation of Vrtti-krt and others, and follows mainly the
Bhasya commentary of Phani.
Rajendralala reads the chronogram as
^5^ but the manuscript has in reality irT^*rr
4242.
1025. The Same,
SubstaiKui, couiitry-made paper. x H| inches. Folia, 36. Lines, 7,
8 on a page. Character, Nagara. Appearance, tolerable. Complete.
A commentary on Panini 1. 3. 67.
Another copy of above.
4243.
8450. I Vivada-ka/mniidl.
By Ldlamaui.
Substance, country-made paper. 9^x4^ inches, Folia, 12. Lines, 10
on a page. Extent in Slokas, 400, Character, Nagara of the eighteenth
century. Appearance, discoloured. Complete.
Colophon : —
If ife i
I II
( 22 )
MafKjalacaram and the object of the work
II
fT^cf TTfr^^r^ii^T I)
i!g II
End : —
iftfirTT II
Ji ^T% 3TO ftT?:TJT
JTifHT I
firft II
4244 .
9030. I Gairika-^s‘Mra-vrtM^
A commentary on the Gairlka-suttra with the text.
Substance, country-paper. 10x4| inches. Folia, 1. Liness, 19 on
this work. Extent in slokas, 29 Character. Nugara Fresh. Complete
One leaf only.
if^ ^ 35 ?T<T ^K^mj T^rf^ jj II 5 EfT?^^«Sjn^«l%T^TxikT?-T^
fit y^3in5^^ !
The Colophon : —
TfrT ^«rWlT^m^-3TfTKmf^5[^
II
( 23 )
4245.
690. I BMm-vrUih.
By Pumsotlama.
iSuttras of Fanini, compiled at the instance of Lak.s-
mana Sena, leaving out the Vedic suttras.
Without beginning, without end. Separate pagi-
nations.
One of the colophons is given, which occurs on the
obverse of the first leaf marked 1.
Pod Colophon : —
aiT^f aiTa
Wf^TT I
srg:TT’nfa(f^Tii^ i
uni in^ ajwwyf
ITinqfaJTTg^fff ’IW B
On the reverse of that leaf commences the last section
of the second adhyaya which comes to an end in leaf 11.
Then follows a new pagination from 1 to 19, containing
the first section of the fourth adhyaya.
4246
3807. The Same.
Subatanoe, country-made paper. ISxSJ inohea. Folia, 83. tinea,
6 on a page. Extent m glokaa, 1,300. Character, Bengali. Date, Saka
1654. Appearance, diacoloured.
It contains the seventh and the eighth adhyayas.
The Last Colophon :
Post Colophon:—
ir^w i
I
g ifT"?hng Tj^ i
g ^^€:sTg^f^^T I
^TSffTfn{5:J!r ^rfcr ii
There nre thirteen stray leaves along with the
Bha^a-vrtti.
4247,
3806. The Same,
Substance, country-made paper. 15x8} inches. Folia, 15 Lines,
4 on a page. Extent in slokas, 250. Character, Bimgali of the eighteenth
century. Appearance, discoloured and worn out.
A fragment, containing VI. 1. 1 to VI. 1. 155 of
l^anini.
Colophon : —
Tf^ mv I
Then a leaf more, marked 16, containing some suttras
from VI. 3. 1.
A work of grammar taught in the Rajsahi district in
Bengal.
4248.
4129. The Same.
Substance, country-made paper. 131 ^ inches, Folia, 109. Lines,
5 on a page. Character, Bengali of the eighteenth century. Appearance
discoloured. Incomplete at the end.
( 25 )
Colophons ! : —
17B, Tfa sinnn^: ; 30 A,
* KffiiTT?: ; 45B, ® ^?T Tt?: ; 55A, «■ ?fWTK: ; 70A,
o ir^TnwPT^ Tsrrr: in'?: ; 85A, ® in!!} itt?: ; 96B, ti^JTTarnr^
ttr: .
The work breaks abruptly in the 109th leaf.
There is one more leaf containing the following
colophon : —
Tfej f^y»:Tfjiorw3(T% ahttw i
Beginning ; -
’^pnsfTsi etc., etc. Effaced.
4249.
3813. The Same.
Four batches of palm-leaves measuring 17^x2 inches. Character,
Bengali of the seventeenth century. In a fair state of preservation.
A.
Contains in 1 to 66 leaves the fifth adhyaya of Panini.
The first leaf is badly damaged and very nearly illegible.
Post Colophon : —
fjT^ i
B.
Contains, in leaves 18 to 42, V. 2. 28 to V. 3. 8.
C.
Contains 1 to 23 leaves, of which 9, 21, 22 are missing.
Suttras 6/1/2 to 6/3/4.
4
( 26 )
D.
Contains, in leaves 34 to 65, the end of VL 3 and the
whole of 6/4.
4250.
3798. The same with a commentary called Pahjika,
By Visva-rupa,
Tt contains two batches of leaves. T lias 11 leaves
and Tl, 63,
I.
Substan'-'O, country-made ])apor. 12^ xH incho.s. Folia, 1 to 11, the
last two unmarked. Lines, 8, 1) on a page Lxtont in Slokas, 280. Cha-
racter, Bengali of the sixteenth century. Appearance, very dilapidated.
A fragment. It contains the beginning of the
Panjika :~
Tfi; firn Jim i
II
a<fii I
II
iisfsifr
’urt i
f^alt cnrffiT
i ^ ipf wr^ f 5^
^DTfWr ^^TT^r^nc
Jiw! 1 Hurnrmfii
( 27 )
ftliTIiT I WlTTSrt I «!%: fjR
STTwfrsi^^ iftfra : —
9\f'flrfr sirf^tT n
IT.
Substance, country -made pa])er. 15x3 inches. Folia, Oli by counting.
Without leaf marks. Linos, 7 to 9 on a page Character, Bengali of the
sixteenth century. Appearance, dilo.pi da ted. Writing effaced in many
eaves. Without beginning and without end.
In tlie leal V[ of tlie second batch of huives tliere
is the coloplion : — -
RECASTS.
4251.
1702. I Prahriya-kaumudl.
By Rama-candra.
Two different manuscripts, one containing the Suban-
ta-pada and the other Tihanta-pada with Krdanta and
Vaidika.
(1) Substance, country-mado paper. inches. Folia, 136.
Lines, 8, 9, 10 on a page. Character, Nagara. Appearance, old.
(2) 9x3^^ inches. Folia, 118. Lino.s, 9 on a page. Character,
Nfigara. Date, Samvat 1664. Appearance, old.
Post Colophon : —
I ’S’T I
fiianiT
»rnT% i
See I.O. Catal. No. 613.
After the three verses quoted in 1.0. Catal. of the
preamble of this work, our manuscript has a fourth. It
runs : —
?i*^Tfu%'^tTTi{ i
^rt»nn*f5rf»mT >erT n
Published in the Bombay Sanskrit series.
( 29 )
4252.
473. The Same,
Substance, country-made paper. 8£ x 4 inches. Folia, 89, of which
leaves 1. 4 to 0, 8, 38, 40, 43, 44, 56, 74, 76 to 78, 83 and 86 are missing.
Lines, 8, 9 on a page. Character, Nagara. Appearance, old.
Fragmentary.
4253.
8764. The Same
Substance, country-made paper. 10.ix4^, 3^ inches. Folia, 352.
Lines, 7, 8 on a page. Extent in slokas, 2,700. Character, Nagara. Old.
Incomplete.
A.
Folia 178 only
The Colophon of the first pari : —
wrni^
+ + +
B.
An incomplete copy from 60 to 141 up to the end of
Subanta.
C.
An incomplete copy, with leaves 1-92, i
Beginning : —
4254.
5756. Commmtary on the same.
By Sri KrsTm
(Tihanta section, only three fragments.)
Substance, country-made pa])er. 11x4 inches. Folia, 107-1-4U
(of which the 22nd and the 33rd leaves are missing) + 31. Lines, 8 to 10
on a page. Character, Nagara. Appearance, old. Fragments.
I. Colophon ill the first batch consisting of 107
leaves : —
87 B, (0
Tt comes up to the root Bhanj.
TI. Tt begins with Ad («r55) : —
28B, o
«ririra «
36 A, o
38 B,
O
^wTfFTOTruw ii
49B, ^8^1 »
III. Consisting of 31 leaves : —
4A, yjaflflf o
^rJTTfrwirflvrrnTf^’inif^T «
9B, etc.
rrfw «
Curadi gana is not complete.
( 31 )
4254A.
11165.
Substance, country- made paper. Character, Nagara of the nineteenth
century.
A fragment of a commentary on contradictory points
in Panini, with its leaves marked 2~ll by the author of
Prakriya-pradipa, and pupil of Resa-Viresvara.
4B, I
IIB, I
See I.O., page 1926, Catal. No. 728.
There is also a leaf marked 1, containing two extracts
from some Purana.
I.
Beginning : —
t
wbfi II
Colophon : —
^0^0 8^ I
^ 11 .
Beginning : —
I
^RftrCTPtTT^lt II
Colophon : —
0 ' 5 >
( 32 )
4255 .
9177. I Siddhanta^haumudl.
Substance, country-made paper. Iljx6 inches. Folia, 343. Line.s,
10 on a page. Extent in Slokas, 0,860. Character, Nagara. Date, Saka
1766. Appearance, fresh. Remarkably correct. Neatly written. Com-
plete.
All leaves have the marginal note, feo i
The note of the serilx' : —
l[[% <11
^RTH 11 Ti 3Grr3^% ^
4256.
7734. The Sam, e.
I.
Substance, country-made paper. 10^ x5 inches. Folia, 26-' 144 (from
the declension of to the end of Samasa) + 1-90 (containing the Tad-
dhita chapter) -f 1-60 (from the beginning of Tyadyanta to the end of
Divadi) + 1-70 (from Svadi to the end of Tinanta) + 1-90 (Krdanta). Idncs,
9 on a page. Character, modern Nagara. Appearance, fresh.
II.
Substance, country-made paper. 10 x4| inches. Folia, 80. Linos, 10
on a page. Character, Nagara of the nineteenth century. Appearance,
fresh.
From the beginning to Samasa.
III.
Substance, country-made paper. 10Jx4J inches. Folia, 6. Lines,
27 on a page. Character, Nagara of the nineteenth century. Appearance,,
soiled.
Ooy\L^\\v\'s, V ?ad\k\-pTakT\ya.
( 33 )
4257.
4427. The. Same.
(TJ^TW^) I
Substance, country -made paper. 10x5 inches. Folia, 169. Lines,
14 on a page. Character, Nagara of the eighteenth century. Appear-
ance, discoloured. Complete.
Post Colophon : —
firfa tara span ^ \\
•^irSwT^r jijt: ii JrH:, etc.
4258.
8513. The Same.
Substance, country-made paper. 12x6 inches. Folia, 24. Lines, 7
on a pag<>. Character, Nagara of the nineteenth century. Appearance,
fresh.
A mere fragment coiitainiiig a portion of tinanta
only.
4259.
4560. The Same.
Substance, country-made paper. 10|x6 inches. Folia, 196 : Tihanta
pada is complete in 93 leaves, Krtpada in 80 leaves and Vaidika-prakriya
in 22. Three in three different hands. Lines, 9 to 11 on a page.
Character, Nagara. Appearance, oldish.
Post Colophon Statement to the Tinanta-pada : —
5
( 34 )
4260-61.
9604. The Same.
Substance, counfcry-made paper. 17^ X 6^ inches. Folia, 202. Lines,
7 on a page. Extent in slokas, 2,425. Character, Nagara. Date, Sam vat
1891. Appearance, old. Incomplete.
From the beginning to the end of Samasa.
4262.
8915. The Same.
Substance, country-made paper. 17 x 5| inches. Incomplete. From
the beginning to leaf 107. The last eight leaves are a restoration in a
slovenly hand. Up to a portion of the chapter on Samasa. Lines,
10-13 on a page. Character, Nagara of the nineteenth century. Appear-
ance, fresh.
4263.
8703. The Same.
Substance, country-made paper. 10|x4^ inches. Folia, 70-1-29.
Lines, 7 on a page. Extent in slokas, 4,900. Character, Nagara. Fresh.
From the beginning to the Krdanta chapter and
taddhita.
4264.
11178. The Same.
Substance, country-made paper. 11x5 inches. Folia, marked 2-10,
12, 13, 73, 173. Character, modern Nagara.
A fragment.
4265.
11182. The Same.
Substance, country-made paper. 9x4J inches. Folia, 14-138 and
another set marked 1-13. Lines, 7, 8, 12 on a page. Character, modem
Nagara. Appearance, fresh.
I.
From «nrN?rr^fz to the end of Samasa.
( 35 )
ir.
from the beginning to the iSuttra .
There are 6 stray leaves belonging to Siddhanta-
kaumudi and 16 leaves belonging to Madbya-kanmudi.
4266.
9603. The Same.
Substance, country-mado paper. 17 J x 5^ inches. Folia, 109, Lines,
7 in a page. Extent in slokas, 1400. Character, Nagara. Date, Samvat
1901. Appearance, fresh. Incomplete.
It contains the chapter on Tadclhita only.
Posi Colophon : —
4267.
8863. The Smne.
Substance, country-made paper. Character, Nagara of the eighteenth
century. Appearance, discoloured.
Six batcbe.s of leaves.
1.
Prom the beginning to leaf 50 ending in “
” asrgi ete. (12x5| inches.)
Tl.
From leaf 26 of the chapter to leaf 1 10 of tlie
same chapter. (12x5| inches.)
III.
Sixty-four leaves of the chapter on faSM i (10x5
inches).
IV.
Leaves, from 20 beginning with to leaf
116 of, the . (10x5| inches.)
{ 36 )
V.
I joaves from 51 to 122 of the (12x5|
inches).
VI.
Leaves 49-70 ending with the colophon. Tf^f
TffT aatht. ( 1 U x 5^
inches).
4268.
8578. The Same and connected irorks.
Substance, country-made paper. 10^ x 4J, 1 12J x 4^, 9^x 4, I2^x4j,
14 X 5| inches. Folia, 668. Lines, 8, 9, 10, 11, 12, 13, 18 on a page.
Character, Nagara. Appearance, old, incomplete.
(1) From leaf I to 138. 134 X 5.
(2) Leaf 37 to 99. 13x5.
(3) From leaves 16 to 37. and i 12:^ X 4^.
(4) f^PfTJT^^T by Nagesa Bliatta. The date of copy-
ing is Sarnvat 1828. from the beginning to the
end. Leaves, 1 to 233. 13x5.
(5) A few leaves of i 13x6.
(6) Leaves from 22 to 31, 11 x44, marked with
portions of some commentary later than which
it quotes.
(7) from 39 to 105. 13x5.
(8) From the beginning of the 2nd half to the end of
fcT^5fi I Leaves 1 to 67. 124 X4|.
(9) complete. Leaves 1 to 17. 9^X4.
(10) The first twenty leaves of from the
beginning. 13x6.
(11) The first eight leaves of from the
beginning. 14 X 64 .
( 37 )
(12) The first thirteen leaves 14x5| of the last
two works (11 and 12) are by Jaya-krsna, son of Raghu-
natha Rluitta, son of Govardhana Bhatta, the best of tlie
« I
4269.
9271. The Same.
Substance, eoimtry-made paper. 13 x 5 inchoa. Folia, 16. J^iines, 10,
11 on a page. Extent in slokas, 300. Character, Nagara. Appearance,
tolerable, incomplete.
A part of the Vaidika-prakaraim of the Siddhanta-
kaumudi.
It begins thus : —
iW: I II
^TcT II II '5^^^ I 5fl% g II
II siTi^cT ii ff?rT^ ii
II
4270.
9blOA. The Same.
Substance, country-made paper. Character, Nagara. Appearance,
fresh.
Three batches of ‘leaves.
I.
From leaf 36 to leaf 42 on i (13x5 inches).
II.
Leaves from 132 to 170 on ftHfR and i (13|x5
inches).
III.
From leaf 1 to leaf 28 on f5re*fi i (11 x 4^ inches).
( 38 )
4271 .
A commentary on the. same.
4434. I Praudha-manoraina.
A commeydary on Siddhanta-kanmudl by the author himself.
Substance, country-mad© paper. 13x4J inches. Folia, 86. Lines,
11 on a page. Character, Nagara of the early nineteenth century. Ap-
pearance, fresh. Incomplete at the end. Up to Avyayibhava Sainasa.
Often printed and often noticed.
4272 .
4-561. The Sayue.
Substance, country -made paper. 12x5J inchoB. Folia, Tifianta is
complete in 1^4 leaves and krdanta in 111. Lines, 9 on a page. Charac-
ter, Nagara. Date, Sam vat, 1739. Appearance, discoloured.
Contains two chapters only — Tinanta and Krdanta.
Post Colophoyi Stateynenl to the Tihayita-prahirana : —
I I i agn
t I I
Post Colophoyi Statemeyit to the Krdanta- prakaraym : —
I I I
4273 .
8704, The Same.
Substance, country-made paper. 9Jx 4 inches. Folia, 111. Lines, 9
on a page. Extent in slokas, 3,600. Character, Nagara, Fresh. Old.
Incomplete.
On the Krdanta chapter in 111 leaves.
Post Colophon : —
-pr + + + + I
( 39 )
4274 .
1118L The Same,
Substance, country-made paper. 13x6 inches. Folia, 18. Lines, 10
on p page. Character, modern Nagara. Appearance, fresh.
A in ere fragment.
Beginning ; —
turn WK w? I
T^sTrstTtiTTfl ii, etc.
4275 .
1 1052. The Same.
Substance, country-made paper. 13x5i| inches. Folia, 17 to 96.
Lines, 12 on a page. Character, Nagara of the nineteenth century. Ap-
pearance, fresh.
20A, I
9()A, I
The M8. ends abruptly in the next chapter.
There is one more leaf marked 123 belonging to the
same work.
4276 .
11180. The Same,
Substance, country-made paper. 13x5 inches. Folia, 99 to 146.
Lines, 11 on a page. Character, modern Nagara. Appearance, fresh. A
mere fragment.
4277 .
8916. The Same,
With the commentary Laghu-sahda-ratnam,
By Hari Dlksita, the grandson of Bhattojl DlksUa.
Substance, country-made paper. 13x5 inches. Folia, 150. In tri-
pat»ha form. Character, modern Nagara. Appearance, fresh. Incom-
plete. Up to a portion of Karaka.
See L. 791.
( 40 )
4278 .
526. ^PErS[J®^?[3RfT I Laghu-mbdar-rafmm.
A co7nmentary on the Pravdha-manoramd. By flari Dlk-
slta son of Visvesvara fHJcsitd and grandson of Bhattoji
Diksita.
To the end of tlie Suvanta chapter.
For the manuscript see L. 1293.
This is called Laghu-sahda-ratna, because tliere is a
larger work called simply Sabda-ratna. See I.O. TataL
651 and 652.
4279 .
11210. The Same.
Substance, country-made paper. 10x4 inches. Folia, 218. Linos, 8,
9 on a page. Character, Nagara Date, Samvnl, 1853. Appearance,
fresh To the end of Subania.
(\>lophon
Font Colophon : —
tRfe flHTH I
tw I TW I
4280 .
527i)A. The Same.
I. 1
Substance, country-made paper. 10x4i inche.s. Folia, 4 to 168, of
which the 31at is missing, in two hands the first ending leaf 67. Lines, 11
on a page. Character, Nagara of the early nineteenth century. Appear-
ance, old and discoloured. Incomplete in the beginning.
Colophon : — ,
( 41 )
n. i
Substance, country-made paper. 10x4^ inches, Fohn. r)(>. Linos,
11 per page. Character, Nagara of the nineteentli century, Appenran'^e,
fresh.
Colophov : —
?T?TTKH I
r*TT. !
Substance, country-made paper. 10x4§ inches. Folia, lU. . Linos,
11 on a page. Character, Nagara of the nineteenth century. Appear-
ance, old and discoloured. Complete.
Colophon : —
Tfci
See [.(). Oatal. No. 6r):5,
4281.
8867. The Same.
Two frag me III. <! from ihe beginning.
Substance, country-made paper. 124 x6 inches. T, fr. 1 53 ; II, fr.
1-33. Lines, 12 on a page. Character, modern Nagara. Appearance,
fresh.
M angalacarana ;
4282.
10887. The Same.
Substance, country-made paper. 9^x4 inches. Folia, 79. Lines, 10
on a page. Character, modern Nagara. Appearance, fresh. A frag-
ment.
6
{ 42 )
Colophon : —
f f}-.f? ffw?r SJTTTTT II
. Post Colophon : —
?!»Tnr ^
4283 . .
3085. I Bhava-pralcamh .
By Vaidya-iifitha Payagiinde,
Substance, country-made paper. 11^x4^ inches. Folia, 1 to 107 +
1 to 97 + 227 to 415 + 424 to 594. Lines, 10, 12 on a page. Character,
Nagara. Appearance, discoloured. The Hrst half of the first leaf is en*
tirely corroded breadthwise.
Blulva-firakasa is a commentary by Vaidya-natha
Payagundeon I.<aghu-sabda-ratna of Hari Diksita. which is
a commentary on Praudha-manorama by Bhattoji- Diksita,
a commentary on his own Siddhanta-kaumudi.
iicaves I to 107 end with Pan6Mr$a-prakarana.
Then come leaves 1 to 97, a restoration, beginning
from tlie third line of 106 B. (colophon in 96B —
).
After a gaj) come leaves 227 to 415 of the old man-
uscript. There is a coloplion in 251 A, which closes the
Pahca-sandhi-prakarana : —
There is, again, a gap of leaves 416 to 423. The last
batch of the leaves are from 424 to 594 and are of the
old MS. The last leaves are concerned with Karaka
and upapada.
( 43 )
The first leaf of which the first half is entirely gone
contains : —
(2) 'aci *i(5rT?(% ^isaE?' i
(3) t^arsft aamfa i
(4) fjreiMTngfjTsra Ttf?5n i
(5) fiif4wf*;?nTTRjRia flTOTsqfff JiifTOg niTra i
(R) T^Tf?^’5»a#rfvcTT^j?)?(i=^5!ffatirif?nT^^T i
(7) ^ i
(8) gf5T5frTw^(*r%fi^sj«j ci’JTT^TgaTfa(!| "n i
(9) «fl^fsr%ffiqt9i5ir-ijTa’i!fafv5R-?rT^f^«am» i
(10) aing[TS^tTOmgif=|fs^ Hlf —
(2nd leaf) ma a namgi%aaTTr’a?Rta9[^^iJia?rsff%ggi-
faai*Tfa i
9371,
4284.
I Laghu-Sabdendu-s-elcharah .
A commentary on Siddhanla-kaumudi.
By NageSa.
Substance, country-made paper. 13x5 inches. Folia, 96. Lines,
16 on a page. Extent in slokas, 6,700. Character, Nagara. Appearance,
tolerable. Incomplete to the end of I
This is a well-knoWn commentary on Siddhanta-
kaumudi.
Mangaldcarana :—
urasnstJnrTWTO axnjfcxrfic^H: i
I
">» '■»
{ 44 )
4285.
5279B. The Same.
A cornmenlary ott Bhaftoji Bllmta's Siddhanfa-kanmndl by
Ndgcsa BhaUa, soil of Siva BhaUa ; being aii ahridge-
mvnl of Sabdendu-isekhara by the same author.
I. 1
Substauoo, country -made paper. 10x4.]t inchcH. Folia, (I to 134.
Lines, 10 on a page. Character, Nagara of the nineteenth century. Ap-
pearance, old. Tacomplete in the beginning.
Colophon: —
^ a
J II a later hand : —
11. atgsBKwn I
Substance, country-made paper. 10x4^ inches, Folia, 1 to 55.
Lines, 7 on a page. Character, Nagara of the nineteenth century. Ap-
pearance, old. Complete.
The leaves arc all marked w. Si.
Colophon : —
TsniniiT^s*fmsifw5Hf5a€(ftJrHsr-srTifir^tHfa(^
ftr —
s»
Here the MS. breaks off.
See I.O. Catal. Nos. 663, 664 and 665.
4286.
5229. The Same.
Substance, country-made paper. 12 x Scinches. Two fragments, one
containing 72 leaves of which 9th to 31.st and 34th are missing ; and the
other contains 47 leaves of which the 34fch and the 36th are missing.
Character, Nagara. Appearance, old and worn out.
( 45 )
4287 .
88(56. The Same.
Substance, country-made^ paper. 12|xfl inches. Folia, 72. Lines,
12, 13 on a page. Character^ Nagara of the nineteenth century. Ap-
pearance, discoloured. A fragment.
4288 .
110')2. The Sam.e.
Substance, country-made paper. lOi x .5 inches. Folia, 100, Lines,
12 on a page. Character, modern Nagara. Appearance, fresh.
9.5 B. TiSr^^T: I
Tile MS. ends abruplly in the next cluipter.
4289 .
11192. The Some.
Substance, country-made paper. 11x5 inche.s. Folia, 8 to 31. Lines,
15 on a page. Character, modern Nagara. Appearance, fresh.
A fragment of iSahdondn-sekhara (Samjua-prakarana).
4290 .
4421. The Same,
Substance, country-made paper. 15x0 inches. Folia, 1-72 -f 1-65
and 1-38. Lines, on a page. Cliaract^r, Nagara. Appearance, old
and worm-eaten. The first half only.
A copy of the lithographed edition of Benares.
4291 .
517. I Cidasthi-mala.
By Vaidya-ndtha Pdyaguiffd^^
gloss on the Laghu-sahdendu-sehhara, by Vaidya-ndtha
PayaguTide,
For the manuscript see L. 1305.
It comes to an abrupt end.
( 46 )
4292.
VaiyakaraM-fiiddhavla-ralnakarah.
Being a comnievlary on SiddhanUi-kammuh .
By Ramnkrma Bhalla, the son of Tim,walh.
See J.. 705.
Hand-writing eigbteentli century.
4293.
5279r!. I Tnllm-hndhini.
A. commenteiTy on the St’ddhfintft~k(t‘H’)ni'udi^ toy J hfinend^o
Sarnsvatl.
I.
Substance, country-made paper. 11x5 inches. Folia, 32t!. Lines,
11 on a page. Character, Nagara. Appearance, old.
From the ho^inriin^ to the end of Taddhita.
For tlie beginning hoc 1 O Tatal No. ^55.
324A, i
Then follows the commentary of Dvirnkta-prakarana,
which is not complete,' in the present manuscript.
IT. I
Substance, country-made paper. 11x5 inches. Folia, 171. Lines,
11 on a page. Character, Nagara. Date, Samvat 1899. Appearance,
old and discoloured. Complete.
Colophon : —
( 47 )
Post Colophon Statement
TTft!IcT5(in^tfc:fT^3irTT3RTT^5fT^^ i w ^^trt i
4294 .
9619. The Same,
Substance, country-made paper. 10x5J inches Folia, 65. Lines,
8 on a page. Extent in slokas, 780. Character, Nagara. .A.ppoarance,
tolerable, fncomplete at the end.
Well known.
From the heginiiing to upto “ T ^^1=^
I
4295 .
9777. The Same,
Substance, country-made paper. 11x6 inches. Folia, 38. Lines, 6
on a page. Extent in slokas, 418. Character, Nagara. Appearance,
tolerable.
A fragment.
End of tffrvnm and beginning of su’^jfrfs^ i
4296 .
8702B. The Same.
Substance, country-made paper, 10 x 4^ inches. Folia, 358. Lines,
10 to 11 on a page. Extent in slokas, 7,200. Character, Nagara. Worm-
eaten. Fresh. Incomplete,
1. The Tiilanta-kanda complete in 199 leaves.
2. The Krdanta chapter complete in 1.59 leaves.
4297 .
262. I Subodhim,
By Jaya-krsm, son of Raghu-nfxtha, and grandson of
Oovardhana Bhatta of the Mauni family.
For the manuscripts see L. 1417.
( 48 )
Contains connnentary on the chapter of accentuation
only, of Bhattoji Diksita’s Siddhanta-kaumudl grammar.
Bepeatedly printed in India.
4298.
8917. The Same.
Siitjslance, country -mado paper. 131 x 6J inches. Folia. l^ines,
10 on (i pat;i). Character, modern Nftgara. Appearance, fresh.
Contains commentary on Vaidika prakriya only.
' Complete in 28 leaves.
See L. .‘5122.
4299.
894. I i
Sidilhnnfa-kaumii,dl-g'udha-phakkiha-praka.mh.
By Indra-datta Upadhyaya.
For the manu, script see L. 1771.
'riie manuscript has been repaired with transparent
paper. But on the margins ordinary thick paper has been
us(!d, and almost all the leaf marks are covered over with
it. 8o at the present state of the manuscript it cannot
nroperiy be described.
4300.
28.59. I Purva-paksavaM.
By Uorila Sarmd.
Substance, country-made paper. 1 1 x 4f incho.s. Folia, 49. Lines, 7
on a page. Extent in Slokas, 1,000. Character, Nagara of the nineteenth
century. Appearance, fresh. Complete.
Tlie^ MS. contains a collection of subtle questions on
Sanskrit grammar, put to the assembly of pundits at
Punya-grama or Puna during the ascendency of the
Peshwas. The questions relate to Siddhanta-kaumudl
mainly.
( 49 )
MangalMaratm : —
»nT^(*r fjR ?rTw i
^TfSf^n^ir 5rt^: ll
Tlie object of the work and its author : —
OTttfmwHTJrt ^ 5rraicfT w i
ufigt^iaiRTu^: ii
ftnsra % *T^ ^rlint^RPCT^ iftwaTR i
WT^iflii <r$: ii
Colophon : —
Tfa «rt«j^tft’5un:[^]iictT ?wm i
4301.
252. I
Madhya-siddhanta-kaumudl.
By Varada-raja,
Substance, country-made paper. 10^x4 inches. Folia, 133. Lines, 11
on a page. Extent in §lokas, 3,058. Character, Nagara. Appearance,
old.
Separate pagination for different sections. The first
two leaves of Samasa are missing.
An abridgment of Siddhanta-kaumudi called Madhya-
kaumudi, from its moderate scope: not so detailed as
Siddhanta-kaumudi, nor so condensed as Laghu-kaumudi.
4302.
1954. The Same,
Substance country-made paper. 10x4 inches. Folia, 86. Lines, 8,
9 on a page. Character, N§gara. Appearance, discoloured. Down to
the yananta-prakriya.
7
( 60 )
Post Colophon : —
^ ^ Kuran ^ v%
4303.
11183. The Same.
Substance, country-made paper. 10 x 6 inches. Lines, 9, 10 on a
page. Character, Nagara.
The leaves of two different MSS.
T. 1-39 from the beginning to the suttra
ffinernTiw i
11. Marked 38-70, from the concluding portion of
W rft I
70A, xtH ftnr i
It ends abruptly after the sQttra wh™ i
4304.
5103. The Same.
Substance, country-made paper. 9^x41 inches. Folia, 100 to 208.
Lines, 9 on a page. Character, Nfigara of the eighteenth century. Appear-
ance, old,* worn-out and faded. A fragment.
From the middle of Nama-dhatu to the end of the
work.
Last Colophon : —
I
Post Colophon Statement : —
? + + + iWMfga g II
’i + + + +
( 61 )
4305.
9301A. The Same.
Stray leaves.
The chapter on of Madhya-kaumudl in 41 leaves,
and 8 leaves of krt-prakarana of the same, both with
marginal notes.
4306.
9776. The Same.
Substance, country-made paper. 11x6 inches. Folia, 20 to 69.
Lines. 9 on a page. Extent in slokas, 660. Character, Nagara Appear-
ance, tolerable.
A mere fragment.
4307.
10856. The Same.
Substance, country-made paper. 10 x 6 inches. Folia, 16. Lines, 10
on a page. Character, NSgara of the nineteenth century. Appearance,
discoloured. A mere fragment.
4308.
10871. The Same.
Substance, country-made paper. 9x4 inches. Folia, 43. Lines, 8
on a page. Character, NSgara of the nineteenth century. Appearance,
discoloured. A fragment.
4.8 A, I
4309.
li256. The Same.
Substance, country-made paper. Character, Nagara.
A fragment of Madhya-siddhanta-kaumudi, with
leaves marked from 70-72 and 71-80.
( 52 )
4310.
2287.
Laghu-siddhanta-kaumudl.
By Varada-raja.
Substance, country-made paper. 10 J x inches. Folia, 139, of which
16, 18, 19, 20, 21 are missing and the leaf-mark of 102 is omitted. Charac-
ter, Nagara of the nineteenth century. Appearance, fresh.
Colophon : —
Post Colophon : —
I tRt !
4310A.
8703 A. The Same,
In 75 leaves.
Substance, country-made paper, 10^x4| inches. Folia, 75. Lines,
8 on a page. Extent in Slokas, 1,100. Character, Nagara. Fresh.
1-43B.
43B-50B.
51A-52A.
WW
52B-60A.
?rf^
60A-72B.
72B-75A.
431L .
11193. The Same.
Substance, country-made paper. lOJxS inches. Folia, 40 to 127.
Character, modern Nagara, Date, Samvat, 1857. Appearance, fresh.
From the suttra w: to the end.
( 63 )
Last Colophon : —
yfTOT*rT ^TiTt ThraRTfic^T 1
<Jt "*=1 Off II
V>
Tfif ?f*mn I
Post Colophon : —
?rr% ilT% w^5^^ rnffr
®a!m^ Tfsrt fist%cTf«r^ ■S'stsifn i
^?l5ifqf»; ftrtst*TT»I
^lifSRiT9r«I eT^ >n3«ira i
4312.
11287. The Same.
Substance, country-made paper, 11x6 inches. Folia, 32. Lines, 9
on a page. Character, modern Nagara. Fresh.
A mere fragment. To the end of the avyayas or
indeclinables.
4313.
11236. The Same.
Substance, country -made paper. 10 J x 6 inches. Folia, 28. Lines, 7
on a page. Character, modem Nagara. Fresh.
A mere fragment.
26A, TWspfn I
It ends abruptly.
4314.
11105. The Same.
Substance, country-made paper. 10x6 inches. Folia, 2 to 14.
Lines, 9 on a page. Character, Nagara of the nineteenth century. Ap-
pearance, discoloured. A mere fragment. One stray leaf.
( 54 )
4315.
11000. The Same.
Substance, country -made paper. 11x4^ inclies. Folia, 67. Lines, 7
to 9 on a page. Character, modern Nagara. Appearance, fresh.
It begins with Akhyata : ws, fe, etc.
The last leaf 67 ends with the suttra of Taddhita:
PHILOSOPHY AND TECHNICAL RULES
OF PANINI.
4317.
8085. I Vakyapadiyah,
By Bharlr Hari.
Substance, country-made paper. 10 x 6 inches. Folia, 2 to 88. Lines,
9 on a page. Character, Nagara. Sainvat, 1758. Appearance, old, worm-
eaten and worn-out.
Last Colophon : —
rfa i
Post Colophon : —
^ \o xw iw-
I
The author died in 651, so says It Siang.
4318.
1458. I Vdkyapadlya-prakasdji^
By Hari-vrsabha.
Substance, country-made paper. Ilx4| inches. Folia, 24 + 31=66.
Lines, 7 on a page. Extent in Slokas, 1,165. Character, Nagara. Date,
Samvat 1902. Appearance, new.
Contains the first kanda only.
Colophon : —
«irrir*RrgT!rl srm WJrnrn; i
Post Colophon : -
apanB^ bstw i
( 66 )
The text and the commentary both have been printed
in the Benares Sanskrit series by Mahamahopadhyaya
Gangadhara Sastri, C.I.E.
In the fifth and sixth centuries A.D. the study of Panini
with its Bha^ya was discontinued. Bhartr Hari’s Guru
Vasu-rata got a manuscript of the stittras and the bhasya
from youthern India and taught it to him. He wrote the
Vakyapadiya commonly called after his name llari-karika,
as ^ succuict commentary to the Maha-bhasya in verse.
The work has three kandas: Brahma-kanda, Vakya-kanda
and Pada-kanda. It is commonly said that the karikas
have two commentaries, one by Ilela-raja and the other by
Punya-raja. The first two kandas have been printed with
commentary. Punya-raja’s name appears in the com-
mentary of the second kanda, but not in the first. In the
printed text the editor attributes the commentary to
Punya-raja, but on what autliority he does not say.
Neither in the body of the commentary nor in the colo-
phon of the first kanda is Punya-raja’s name mentioned.
4319.
8822. The Same.
With a commentary. only.
Substance, country-made paper. 14x6 inches. Folia, 37. Lines, 9
on a page. Extent in slokas, 800. Character, Nfigara. Date, Samvat
1036.
Complete in 37 leaves and 157 verses.
4320.
1114. I Prahlrna-pralcamh.
By Hela-rdja.
Substemce, country-made paper. 10^ x 4| inches. Folia, 239. Lines,
12 on a page. Extent in Slokas, 8,600. Character, Nagara. Appearance,
tolerable.
( 57 )
A commentary on the third part, Prakirna, or Pada-
kanda of Bhartrhari’s Vakyapadiya. Incomplete at the
end. See LO. Oatal. 707. The commentator was the son
of Bhiiri-raja.
4321 .
572. | Hphoia-tativnm.
By Sesa-Krsna,
For the MS. see L. 1431.
The end : —
(^) mm i
ii \ ii
^^•n5^5?r i
II
fiR^fxTH?T II
II
A work on the philosophy of grammar. It follows
Maha-bhasya and Bhartr Hari. The author’s time is the
end of the sixteenth century.
4322 .
883. I Sphola-cjiiakam.
By Mauni Krsna Bhatta^ son of Raghu-ndtha by Jdnah%,
and grandson of Govardhana.
For the MS. see L. 1780.
Aufrecht, in his Cat. Cat., would call the work Sphota-
candrika. He gives also the author’s name as Jaya Krsna,
which is not supported by any of his authorities.
8
( 58 )
4323.
Vaiyaharana-siddhanta-hhusanam.
By Konda Bhatta, son of Rangoji Bha\ta.
For the manuscript see L. 1328.
It ends : —
fsrwi %<!r[5rT]f?%3[2^ «lTj^taKtlTsi«T i
f fw^Twni cTsn
m^Tsit <w^ KirtfstHf 1# II
^iTfjir^hrcr^wT ^ %[ ' i
f? vra? fiiTO li
This MS. begins with the commentary of the 27th
karika out of 74 by Bhattoji Dikgit on the philosophy
of grammar.
Colophon : —
"incw: ^rmw: i
4324.
11021. The Same.
Substance, country-made paper. 12x6 inches. Folia, 171. Lines,
1 ] on a page. Character, modern Nagara. Appearance, fresh. Complete.
Last Colophon : —
?WTfr* I
4325.
8864. The Same.
Substance, country-made paper. Ilx4f inches. Folia, 132. Lines,
10 to 14 on a page. Character, NSgara, written in a neat, clear hand of
the eighteenth century. Appearance, discoloured. Complete.
( 69 )
The Last Colophon : —
^TJf! ’aikwT^! ^rmn: i
4326 .
7792. The Same.
Substance, country -made paper. lOJx 6 inches. Folia, 20. Lines, 11
on a page. Character, modern Nagara. Appearance, fresh.
A mere fragment, up to apadana-karaka (ablative).
4327 .
9767. The Same.
Substance, country-made paper. 11x4 inches. Folia, 34. Lines, 8
on a page. Extent in Slokas, 670. Character, Nagara. Appearance,
tolerable.
A fragment.
4328 .
8702A. The Same.
Substance, country-made paper. 10 x4| inches. Folia, 87. Lines, 8
on a page. Extent in Slokas, 1,400, Character, Nagara. Date, Saipvat
1838. Fresh. Worm-eaten. Complete.
Complete in 87 leaves. Sarnvat 1838. Contains
Spota-vada only.
^TWbFTT I
4329 .
917. The same with a commentary called Darpana.
For the manuscript see L. 1818.
The text is by Konda Bhatta, son of Rahgoji and
nephew of Bhattoji ; and the commentary by Hari-
vallabha, son of Vallabha Parvatiya of Kurmacala.
( 60 )
4330 .
8926. I Bhumim-sara-tlka.
SubBtance, country-made paper. 11 x 3^ inches. Lines, 9 on a page.
A fragment with leaves marked 76 to 78, 96, 99 and 100. Character,
Nagara of the nineteenth century. Appearance, discoloured and worn out.
This a]>peara to be a gloss oiv an abridged recension
of Konda Bhatta’s commentary on 74 karikas.
In leaf 9613, Colophon
o
1
4331 *
Lagh%t-vaiyakarana-dddhayU^^^^^^
By Ndgem Bhaita, son of Siva Bhatta and Sail, pupil of
Hari-d~%ksita and lidrndsrama.
For this MS. see L. 1341. Tt is a mere fragment.
For complete, copies of the work see 1.0. Catal. No. 718
and Aufrecht, Cat. Bodl., No. 403.
4332 .
11227. The Same,
Substance, country-made paper. 12|x4 inches. Folia, 387. Lines,
8, 9 on a page. Character, Nagara of the nineteenth century. In two
different hands the first ends in 24. Appearance, fresh. Complete.
Colophon : —
ficit i '
Cs
Post Colophoyi
TOJ I
( 61 )
4333.
4495. The Same.
Substance, country-made paper. 11x6 inches. Folia:
in 1 to 66, in 1 to 27, in 1 to 129,
in 1 to 57. Lines, 11 on a page. Character, Nagara Appear-
ance, fresh. Complete.
A copy of the lithographed edition of Benares.
4334.
:1679.
Parama- lagMi- mahj u m.
By Nagesa Bhatfa.
Substance, country-made paper. 18x4 inches. Folia, 9. Lines, 10
on a page. Extent in slokas, 260. Character, Bengali. Date, Saka 1746.
Appearance, fresh. Complete. Without the Mahgalacarana.
For a description of the work see L. 2299. Tliis is an
abridgment of the author’s own work Vaiyakarana-laghu-
siddhanta-mafijusa.
Post Colophon Statement : —
-niiTiiff^-^ i
Cv
4335.
11132. I Kala.
Being a commentary hy Vaidya-natha Payagunde on
Nagesa' s Vaiyakarana-siddhanta-mahjusa.
Substance, country-made paper. 12x6 inches. Folia, 256. Lines,
1 1 on a page. Character, modern Nagara. Appearance, fresh. The MS.
ends abruptly.
( 62 )
Beginning : —
^ ii
For a description of the work see I.O. Catal. No. 722.
4336.
5872. I Sahda4attva-'prakasah,
By Indra Daita Upadhyaya,
Substance, country -made paper. 12 J x 3|^ inches. Folia, 26. Lines, 7
on a page. Extent in Slokas, 520. Character, Nagara, Date, Samvat
1877 and Saka 1742. Appearance, fresh. Complete.
A clear logical analysis of words — roots and inflec-
tions. It is mainly baaed on Nagesa’s work and considts
Phani-bha^ya.
The Mangalacarana and the object of the work : —
3A, BrniUTB! i vrerti^ fere: wrai i
BTBfwtSiS I
6B, BfraiTB: I «rgBT i
8A, BTOTB! 1 tJigBWBTHli WTf^BTW
IIB, Bn^iTBi i ira in^eTfkfirB-
( 63 )
18A, ^peant ftirwpHWT^
iff f%iffii^ w i(<f^»?pRf^fsr: ^er tt BtMfistTfrm^^rtirwrw-
■sr-njw i
23B, ^ elf^ I
Post Colophon ; —
5ift?inin^ I V’'®® ' '
«H*<ii >2?pT«% I
^rn?rf fjrTOrsT%irwfl ^ «
5^5T jna'^crm «rra^ i
’EfW^ fwfecf: ’cffii fl
Jin ti : wffs^ ’EHTT Traw I
ir?W WIT « aiirft’fli;: (?) ii
4337 .
10204. mn!!«?)^MR^mi I Paniniya-parihhasa.
By Vyadi’
Substance, country-made paper. 10 J x 4 inches. Folia, 3, Lines, 10
on a page. Character, NSgara of the eighteenth century. Appearance,
old and discoloured. Complete.
( 64 )
Beginning : —
jTTTJrni’ia'^ w ii
+ +Hi^ iiTar I *f g i )^w-
HTJii I ®f«r^ «y?sr^: i "*» ^-
Hg^i0?rf4^T’n^ sg^-RfiwreTd! i
«t*t*fncTg ft'sftg srhiTTg i flTjfhr-
^t?T! T^5=(fg frsftg 5iTsr=^ ’vtTi^:Tg i, etc., etc.
End : —
jtf^T^mf^TJtf life: «T: WHW^'nii 'Sn^ Wtira! I
•"> -v
Colophon : —
Tfir mfiir^t^xTfoTTWT
jn^ ^^5 I
Post Colophon : —
ftrwTT^R#^* ^5^^, I
4338.
9216. I Pci/TihhdiSGi“'pcith(ih w
Substance, country-made paper. 11x6 inches. Folia, 6. Lines, 6 on
a page. Extent in Slokas, 72. Date, Saqivat 1904. Character, Nagara.
Appearance, tolerable. Complete.
Tt belongs to the Panini School. There are 129 Pari-
bhesas in this MS.
It begins as in the next two numbers.
Post Colophon ; —
^ W w.rdyii<ift^i:Tgi^ i «
I
( 65 )
4339.
1085)1. The. Same.
Substanc'o, country-made paper 11x5 inches. Folia, 5 Lines, 8
on a page. Extent m slokas, 90. Character, modern Nagara. Appear-
ance, fresh. Complete
Colophon : —
-if^ vrr«rT i
On tcclmical rules for tlie interpretations of the
siiftrasof Pan ini.
Beginning : —
II ^ II
H II ^ II
Thou 1:^6 such rules.
hJnd :
II
4340.
1 1 264. The Same.
The first leaf only.
Begmnmg : —
fr i ^ i *r fir
I ^ I xnsw i
8 1 I 1 I w^(?
ftrfiT i I
9
( 66 )
4341.
3796. I Paribham-vrlii h ,
By Slra-deva,
Substance, palm*leaf. 18^x2 inches. Folia, 81. Lines, 6 on a page.
Extent in Slokas, 3,200. Character, Bengali of the fifteenth century. Ap-
pearance, without any defect. Complete.
Colophon : —
JUT^ftrsufrw^Tf^^TjniT i
Pofil Colophon , : —
?rHm I
sisJtfsT 1
^ f^rPam ^ -^rt qfwstnftwn? i
38^(r?^ cT^ irraT fum aig 3 t?h[ = ] ii
grr=grfw^ i
See I.O. Catal. No. 672 and L. 2074.
There is a complete index of the contents of the work
at the beginning of the manuscript.
4342.
10571. The Same,
Being a commentary on the paribhasds — or general rules of
interpretation and application of Pdnini's grammar.
By Slra-Deva,
Substance, country-made paper. 10x4^ inches. Folia, 29 {by count-
ing). Lines, 10 on a page. Character, modern Nagara. Appearance,
fresh.
A mere fragment.
The leaves of the fragment seem to be in disorder,
many of which are not marked.
( 67 )
4343.
2646. I Parihhmeyidu-sehharah.
\S
By Ndgoji Bhatia.
Substance, country -made paper 10x4i inches. Folia. 66. Lines,
] 1 on a page. Character, Na^ara of the nineteenth century. Appearance,
fre.sli. Complete.
Often described and often printed.
4344.
9.'>67. The Same.
Substance, country -made paper. 13x5 inches Folia, 23. Lines, 17
on a page. Extent in slokas, 1,3S0. Character, Nagara. Date, Samvat
1911. Appearance, old. Complete.
Full of marginal notes.
Well Iniown and often printed.
4345.
SSI.
ParibhCisend a-sekhara -kdiHIcd.
By V aidya-vdtha Pdyaqimde, son of Madhava by
For the manuscript see L. 1782.
Post Colopho7i Statement : —
mm i
?T>cr fno :5 u?t i
Aufrecht, in his Cat. Cat., p. 612, seems to think that
Vaidya-natha has two commentaries on Paribhasendu-
sekhara, one Gada and the other Kasika. I think, how-
ever, that those cataloguists who got incomplete manus-
cripts, thought from the first verse of the present com-
mentary, that it was named Gada.
( )
The verse is: -
The colophon calls it kasika.
4346.
328. I Si ddha-paribhasa.
SubRtance country-made paper. 9x4 inches. Folia, 56 (by coimt-
ig). Lines, 10 on a page. Extent in slokaa, 1,210. Character, Nagara.
appearance, fresh. Incomplete.
The work appears to be notes by some pandita on
he technical rales of the Panini school of grammar.
It begins : —
striarfcfa fsrfsurT^TJUT^Trfw^
5iwffaTa(5fTa«reT?;iirH€^ 'I’aTci
jTf«T maf^r^^nincr irr€t*r-
#?n’jrrenm g i
The first leaf is not marked, the second leaf is marked
1, the third leaf is marked 2, the fourth leaf is marked 8,
the fifth leaf is marked 9, and the sixth leaf is marked
11 In this leaf the work ends
T'*rf^^’^T'Tnri i ^ i
The other 50 leaves are consecutively marked from
1 to 50, though this portion begins abruptly and ends
also abruptly.
The first leaf begins : —
fs 5^! I
And the fiftieth leaf ends : —
sjuiOl'ti T wflpfw ^rrfiwnn fiaftniwr-
( 69 )
4347.
872. The Same.
Substanco, country-made paper. 13x0 inches. Folia, 51. Lines, 10
on a page. Extent in slokas, 1,000. Character, modern Kashmiri.
Appearance, old and repaired with transparent paper.
It endfi thus : —
f^fTOTcT ^
ftfcf flnwTir ^ f^a-
Tsnf^^TWrf^mfTi^vrraf-
si;® 5gn?sftfstTi ii
?r®jiw II wnnifl ii
c ' ■'
All the loave.s except the eleventh has on the left
upper margin ^To Tt®, while on the eleventh leaf it is
I
This is of the nature of a Kroda-pattr;::, and very
modern, as it often quotes Sekhara of Nagoji Bhatta.
SUBSIDIARY TREATISES OF THE SC^HOOI
OF PANINL
4348.
745. ( Dliahi^abmamm.
For the manuscript see L. 1591.
Post Colophon SfaUmeiil : —
^^4 «jft 1
This is not a work on Vaidika roots, as Aiifrecht,
following Rajendralala says. No special roots are ac-
knowledged for the Vedas.
It is written in the Suttra form in 8 sections.
Peteison calls a similar book Dhatu-laksana-parisi^ta,
which may be an appropriate description. But it cannot
be said to what it is a pari§i{^ta. It looks more like
an Anukramani or index of initial words of some Vedic
work than anything else. As it is in 8 sections it seems
that the work to which it is an index was an A^tadhyayi.
4349.
9792. m I Paninlya-dhatu-pathah.
Substance, country-made paper. 11x6 inches. Folia, 4. Lines, 11
on a page. Extent in Slokas, 96. Character, Nagara. Appearance, toler-
able. Incomplete at the end.
Beginning : —
>1*?: fjtarw I ^ ’irarar: *re-
I TTv ITT?
lOT nm »rT¥
■srn:® i Titnf?? i
( 71 )
4350 .
2531. I Ksira-taranginl.
By Ksira-svmii.
For the MS. and the work sec L. No. 2588.
It gives the meanings of the Sanskrit roots with or
without prefixes thereon, according to Panini.
4351 .
2809. I Dhatu-pathah,
By Bhlma Sena.
Substance, foolscap paper. 7x4^ inches. Pages 53. Lines, 13 on
a page. Extent in Slokas, 360. Character, Nagara Appearance, fresh.
Complete. Bound in book-form
It begins : —
^ -Ncft
frsf |iftr i
It ends : —
^ '' >»
Colophon : —
•STTgirre: ?WTH: I
Jm: II
4352 .
8504. The Same.
Substance, country -made paper. 10 x4J inches. PoUa, 26 of which
the first two are missing. Lines, 9 on a page. Extent in slokas, 378.
Character, Nagara of the eighteenth century. Appearance, old and
discoloured.
( 72 )
Colophon : —
This belongs to the school of Panini.
See I. 0. Catal. No. 686. In this MS. tliere are seven
lines more than in the I.O. MS. at the end.
4353.
10505. The Same.
Substance, country-made paper. inches. Folia, 18. Lines,
10 on a page. Extent in slokas, 468. Character, Nagara. Samvat, 1743.
Appearance, discoloured. Complete.
Colophon : —
Tfa ^wth: II
Post Colophon : —
srif^sr
I 55 H »i?n3 II
i ii ii ii
4354.
3718. I Dhaln-pradipa.h.
By Brl-Baksita.
Substance, palm-leaf. 16 x 1| inches. Folia, 59. Lines, 5 on a page.
Extent in Slokas, 1,400. Character, Bengali. Date, saka, 1490. Appear-
ance, old and worn out. Complete.
Colophon : —
Tfe Trft-
Post Colophon : —
# W I 1 # stiff I
( 73 )
OT’S I ?^8et> McJlfTH »<
II
aau gfHB aRffstTW^c :
ag «srT ai?- swiffr sthtItt nHTftr [ii]C?)
fii^TOamife f^trtini ^5:, etc., etc., etc.
In a different, later, had hand :—
ar^ifa sf i*i: g:gcfjni(
fwa ^srfa if 1*1 : 1
^nwraisfit s®faf^?\fa^iTf?T^ 5 ira«T*rra 11
Begi)a'< : —
an: fjrara 1
assrtsija aax nin: ’HT 3 iai«??i 3 T«Ta 11
atxrgsifaTa noaa^rrganaaf^a sfax-
Jtxxa XIX5 ax’srxar naa»:gax%a =a gygfa^^^n^fixaaT^ai^
gaTf?a[s^:gi faaxaaxa vxw'qna'a’fx + + + + + + -|-
nafa?r^ b-sxjx fafg^fa ’
This is a commentary on the Paniniya Dhatix-patha.
It follows Bhima Sena. See I. 0 . Catal. No. 687 .
The LO. MS. gives the full name of the commentator
as Maitreya Rak.'jita. The present MS. omits Maitreya
and calls him by his title Raksita.
Published by tlie Varendra Research Society.
4355 .
11120. I Dhalu-pathah.
Substance, country. made paper. 10x5 inches. Folia, 14. Mnes, 11
on a page. Character, modern Nagara. Appearance, fresh. Incomplete
at the end.
On the margins of the first four leaves : ^smuns i
10
( 74 )
Beginning : —
HXK^j THR II (?)
TT?:#^TT^: ^TJf^-
ITT^? etc.
14B, xffT I
Of Rudhadi there are only 2 lines. The MS. ends
abruptly.
Apparently connected with the Panini school.
4356.
1596. I Gana-paihah,
By Bdma-Krsna, son of Govardhana Dlksiia,
Substance, country -made paper. 10x5 inches. Folia, 30. Lines, 9,
10 on a page. Extent in glokas, 500. Character, Nagara. Date, Sarpvat
1873. Appearance, fresh Complete.
Post Colophon -
^ ^■?TTcT I 1
Colophon : —
Tfcl JDDRT7
I
The work belongs to the Panini school of grammar
and is divided in eight chapters.
It seems to be an abridgment of the Ganapatkah
attributed to Panini.
i
Aufrecht seems to have attributed it to Sakatayana’s
school in the first volume but in the second he correctly
attributes it to Panini’s school.
( 75 )
4356A.
9206, I Paniiilya-ganah .
Substance, country -made paper. 11^x5 inches. Folia, 9. Lines, 11
m a page. Extent in slokas, 225. Appearance, fresh. Incomplete, to
lie end of the second chapter. Beautifully written
Often printed in India.
1749.
4356B.
Panin, lya-gana-patha h .
By (jleya-dem.
Substance, country-made paper. 10^x4^ inches. Folia, 17. Lines,
12 on a page. Extent in slokas, 280 Character, Nagara. Saipvat,
1878 Appearance, fresh. Complete.
The (blophon giving the name of the author : —
The mangalacarana and object of the work : —
This is a collection of Pratipadika ganas such as : —
1 B, ; gsTHf ; 2A,
; 2 B, ^ ^ ;
3A, ^ 4A,
and so on
The date of the manuscript : —
5Tvft3TTf5a %% fcT^
On the left hand upper margin there is 3T, in the
first two leaves and jt, tri throughout the leaves from 3
to 17 the last leaf. But there is no definite name of the
work given in the body of the work.
( 76 )
4357.
2984. xj4il I I Unadi-ftHlram.
Substance, country-made papt-T. 7 x 4] inclics. Folia, 111. Lines, 14
on a page. Extent in Slokas, 35U. Character, Nagara. Samvat, 1675.
Appearance, discoloured. Complete to the end of the 5th pada.
La si dolophon-. -
HK-- i
The Post (Colophon Staiemeni : -
1
fFT^w
11
1
It be<fivs: —
I I ? ^ II
If ends : —
\\ gEfif^ Jlft?
II II
4358.
175!]. I Unadd-vrltih.
By UjjvaJa Dutta.
Substance, country-made paper. II x 4^ inches. Folia, 93. Lines, 11
on a page. Character, Nagara. Date, Saipvat, 1695. Appearance, toler-
able. Complete.
Post Colophon : —
f. ?THnfl5^r irsf: i
Ho i
s»
Published by Aufrecht a^nd Jivananda Vidyasagara.
( 77 )
4359.
2875. The Same.
Substance, (.'ountry-made paper. lOxSiiicbo.s. Folia, 03. Lines, 10
□n a page. Charaeter, Nagara. Date, Saka 1511. Appearance fresh.
Complete.
Colophon
I ’TflTHT i
Posf ■ ^olophon : —
mm ^ ftT?r
4360.
85U4. The Sam,e.
Substance, country-made paper. 16^x31 inches. Folia, 44. Lines,
7 on a page. Character, Bengali of the eighteenth century. Appearance,
discoloured. A fragment
See Lgr. P 1(54. It agrees with .4nfrecht’s edition.
Autlioritie.s cited in it ; —
?:fTr5?jTfrTrgsaT*T vnirsffiiifTn; i
Mt«n ?nF{Bfl4^ crft^ ^^iptTF p
^irrejrsr^ ^»ifd i
afiWJT II
^Tf^«^>5^4rT «aT[ = ] I
HI itfTd >EnTTwW ti;*rRSBr« Ih^th i
HHH! tnTJITira JpSfT €fHfH50«I% II
( 78 )
32B. Colophon : —
Tftr hr: i
Panini did not believe in the doctrine that all nouns
could be derived from roots. He is, therefore, ofKai ridi-
culed as avyutpanna, by Patafijali. In suttra 111.
1, he dismis.ses this theory l)y saying ITnadayo bahalain,
using the word Bahalam in the technical sense : siif=9cr
etc. But the Panini .school of grarnmariana
are using for many centuries, a l)ody of still ras called
Unadi suttras as subsidiary to Panini’s siittras. They are
often attributed to Sakatayana and Panini in his .siittras
often quotes an older author named Sakatayana as in the
suttra [II. 4. 111. la©; i
The lithographed edition of the work described in
Lgr. 164, attributed to Vararuci, in ten jiadas appears
to be a different recension of the work,
4361 .
• 4776. I Pradlpa-kalilca.
By Bhltna.
Substance, palm-leaf. 12x2 inches. Folia, 1 to 47 of which the fol-
lowing leaves are missing,— 3, 11, 19, 33, and 44. Lines, 5 on a page.
Character, Bengali. Date, L.S. 198. Appearance, old and damaged.
A good treatise on conjugation of the school of
Panini.
Beginning : —
ifrgfiirw i
infnrbr: n
TTsft% firfN giVTi^iT^ fsgwi
I I UTeR Tfa •srnj^T'^T I
VTcflfKiJrfsrwar niT% ■srig^ ft
Bunft wft I ^ ^^nsTcff! tut t^fer i
{ 79 )
It ends thus : —
trrw5f»ifTfi*:^Tg’f^^nftirT i
^ fsiirs^^T
II
Colophon : —
Tfa ^TTf?:irffl: «ifrTir: i
Post Colophon : —
wfsT^T^: \t'= 5fI5#5lJTat
>Tt rn’i^mTcmfra-
[«]^JTTmf^ 5%fi3
%?T I
«fs?^ ■stsiTgftt I
% -sn^^ J7% »w II
«ih?;t: •gsrftr^f^ jpnfjT^^ «®i5tT; n
HIT JI% I
4362.
8122 .
Substance, palm-leaf. Iljx2 inches. Folia, 27. Lines, 5, 6 on a
page. Extent in slokas, 550. Character, Newari. Appearance, old.
Date, N.S. 517. Complete.
A grammatical treatise of Panini’s school on con-
jugation.
The Mahgalacarana and the object of the work : —
wgi p®*g I
si(fr)sg^pmfiT'sjpii ii
'sf^T^T ^tn^w i %
wrg^! 1 ^2^, etc., etc.
( 80
(Colophon: -
ipnif ifTl? I
Po.^t (k)lophon :
^cl^JTrTT 410 W[f^W^^ V^l-
fTm f^f^rf r?
The next leaf does not belong to the manuscript.
4363.
"^"788. ^SrSEr^n’^TRn^* l Avyayartha-prakamh.
By Pdiahjali.
Substance, country-mado paper. lOfx 5 inches Folia, r>. Linos, 12
on a page. Extent in slokas, 180. Character, modern Jaina Nagara.
Appearance, fresh Complete.
(Colophon : —
TfH WIJJIT 1
Beginning : —
^jrinw^ *inMi
fwf^rr mfinfsi ^^jRTraR i
^Tif^OnTTfUT^nm p f«mrar« «iJ!nr«r^:
I fTT^T a?’5ff’TPinr I
V* ^
*nS II
It forms no part of the Maha-bhasya, but a commen-
tary on Svaradi-patha.
It endu : —
^35^rT*mR^^p>T^TT ^1*1 ifH cT^rr t
I ^wr» i a TaT[0 iis^ >r p
( 81 )
4364.
10761. I Balaha-bodhah.
By Narahari.
Substance, country-made paper. 9x3]^ inches. Folia, 22. Lines, 10
)n a page. Character, Nagara of the eighteenth century. Appearance,
iiscoloured. Incomplete at the end.
stJT! I
3rWwciJT<rt %a>: y»3i=nf*i «
cf acfwy'i i
51 it
TT^T^rammtaiT! ai<»^4s?lyi*i^3S5n: i
^TJTw^TC^fia^frfigaT VTaw^T ii
^JTJTT^^ I
5r 5jci if Hf%^fa «
ciw ^sTiirii'^g^im i
•^gwFSRPCia ^%airffrYT3)^! ii
flJTWT! ^?;5jfrftir fi^5fpifT! |
irMT -^aw^ •agj^icriT ii
ar^TiiTguanrnf n
«rata flW'T[a>]’a vts^ewfw snftirftrsT^ ^?t-
I iT^^sRTsgiiWiir fa^ais n
3A, «r«r ; 12B, stnir ; 13A, tfa ^HWin:
iafT%if»Tfii ; 13B, wmranrT! ; 14B, Tfa ?wwt!, «r«r ^T^i fa ;
11
( 82 )
16A, Tfa ^5RTf®, fiSfTiT!; ir)B, rfc? a^sfn:; 16A, Tf^
(Tf^T! «r<!f vm?! I
The MS. ends abinptly.
4365.
5925. I Kroda-pattrmn,
By Sem,
Substance, country -made paper. 10x4| inches. Folia, 9. Lines, 14
on a page. Extent in slokas, 400. Character, Nagara. Date, Saravat
1888. Appearance, fresiji. Complete.
Notes on the suttras of Panini.
Beginning : —
Coiophon : —
Tfa ftJTTH! I
Post Colophon Statement :—
'gX «Wcr 5io !
4365A.
893. I Yahluganta-siromanih.
\ sj
By Sesa Krsna Pandita.
For the manuscript .see L. 1772 and for the work see
I.O. Catal. No. 704.
It is a subsidiary treatise of the school of the Panini
grammar, and, not, as Rajendralala says, a gloss, on a
portion of Siromani’s commentary on the Sabda-khanda.
Post Colophon : —
I ^ )
( 83 )
4365B.
729.
Substance, country-made paper. 10 x4j inches. Folia, 11. Lines, 11,
12 on a page. Extent in slokas, 500. Character, Nagara. Appearance,
old. Complete.
It -is a gramtnatical disquisition wliich arises in the
following way ; —
irmjir»nr% -sTTfir Tsnf^,
ctfT: Si?fT
TiirnT iT2igrT^T + + + ??i urrmnTKTgiTrrT^
I fsR ft fir %rq-
Authorities quoted : —
IB, HT5I ; 2 A,
trTs^ftFiTT ; 3A, UTO, ; 3B, ^ftr^T?-: ; 6B, ; lOA,
I
43650.
11164.
Substance, country-made paper. 10Jx4J inches. Folia, marked 5 to
44, of which foil. 8 to 10, 17, 19 to 28, 39 to 36, are missing. Lines, 9
on a page Besides there are four leaves marked 0, 8, 8, and one not
marked. Character, Nagara.
A commentary on grammar : —
Authorities consulted
7A, ; 7B, ; 11 A, hm ; 14A, ufti^rT ; 39A,
^T’sraiTtfl I
4365D.
11163.
Substance, country-made paper. Folia, marked 4 to 6. Lines, 1 1 on
a page. Character, modern Nagara.
A fragment of commentary on grammar.
Authorities quoted : —
5B, ; 6B, i
LATER SCHOOLS OF GRAMMAR.
1. KALAPA.
4366 .
6654. I Katantra-suttmm.
Substance, palm-leaf. 9x2 inches. A fragment containing nine leaves.
Lines, 6 on a page. Character, Newari of the thirteenth century. Ap-
pearance, old and worn-out.
Compiled in 69 A.D., at tlie instance of Satakarni
Satavahana.
The M8. contains the Dhatu-patha of the Katantra
School.
4367 .
10668. The Same,
Substance, country-made paper. 13x3^ inches. Folia, i52. Lines,
6 on a page. Character, Bengali. Date, Saka, 1672. Appearance, old
and discoloured.
The chapter on Krt ends in 38A : —
Tfii aas I
s»
The work from the beginning to the end of Krt is
printed in pp. 1 to 210 (with commentaries) of the Dacca
edition.
After Krt we have the following : —
41B, 1
42B, TfcT ’ffWTH I
The end : —
( 86 )
Post Colophon : —
WTHT I
^^cwiqri; ^^tipSto: i ^lTHT»inr ^-
m«R*t[^]-T5«aRfRrfiT I
4368.
10397. The Same.
Substance, country-made paper. 10 x 6 inches. Folia, 1 to 10, 34 to
43. Lines, 11 on a page. Character, modern Nagara. Appearance, fresh.
A fragment.
Contains the oommentary of Durga-Simha also.
4369.
8071. The Same.
I. Three old palm-leaves, containing the beginning
of Kalapa-vyakaraiia written in old Newari, with colo-
phon in the third leaf Tfir I
II. Along with them, there is another palm-leaf,
containing stanzas marked 5 to 8, with the colophon
rftr I
4370.
The Same here called.
10419. I Kalapa-vyakaravum.
With Durga-Simha' 8 Vrtti.
Substance, country-made paper. 9| x 3^ inches. Folia, 38, of which
the 8th and 31st are missing. Lines, 8 on a page. Character, Nagara
of the eighteenth century. Appearance, old and discoloured.
A fragment, containing portions of Karaka and
Samasa.
13A, Tftr ^ ’rrf^ wtk: i
{ 00 ;
4371 .
4488. The Same.
Substance, country-made paper. 17 x 3f inches. Sandhi is complete
in 15 leaves and Krt in 151. Twines, 3 on a page. Character, Bengali of
the nineteenth century. Appearance, fresh.
4372 .
4407. The Same.
{ only )
Substance, country-made yellow paper. 17x4 inches. Folia, 79.
Lines, 4, 5 on a page. Character, Bengali of the nineteenth century. Ap-
pearance, fresh. Complete.
4373 .
4433. The Same.
{ only )
Substance, palm-leaf. 11^x2^ inches. Folia, 108. Lines, 6 on a
page. Character, Nowari. Appearance, discoloured. Complete. The
writing seems to be in a sov^enteenth century hand.
Colophon : —
4374 .
3637 B. The Same.
Krt only.
Substance, country-made paper. 14x4 inches. Folia, 1 to 19.
Lines, 9 on a page. Character, Bengali of the eighteenth century. Ap-
pearance, discoloured.
A fragment with the colophon in 8B : —
M
(• 87 )
4375.
177. The Same.
The manuscript has been described by Dr. Rajendra-
lala Mittra under No. 51‘b
Printed at Dacca to the end of the third pada. The
present MS. contains the last, the Taddita-pada.
The MS. is old and decayed in appearance, dated
Saka 1441)-= 1527 A.D.
Post Colophon Statement : —
Coloj)hon : —
mv I
^JTTFT I
At the end tlicre are four loaves in the same hand-
writing and on the same paper.
4375A.
6638B. The Same.
With Durga-Swiha's Vrtii.
Substance, country-made paper. 11 x inches. Folia, 50 + 49, Lines,
14 on a page. Character, Jaina Nagara. Date, Samvat, 1820, Appear-
ance, fresh.
It contains the chapters on Akhyata (complete in 50
leaves), each separately paged*
Colophons
Tfei ^r3fT»9n% in?! i
. • W W 'IKi I
( 88 )
Post Colophon : —
^ I oTT^jtpTt i (the
chronogram eifaced) fstna*?# BitillMtQ
4- + + +
ftr^g I ^t*T?r nT’gfsrire?fT?’T»wifft^^t»Ttr iPR^^TTf?-
’nr^: i ^ »i?n(T i
^TTfii etc. »™, etc., etc.
4376.
209. ^|rl*T^^rTit|(^^)T I Kdtanfrq-vrtti-panjiJca.
By Trilocana Ddsa.
A commentary on the Vrtli.
Substance, palm-leaf. l5Jxl| inches. Folia, 181. Lines, 3, 4 on a
page. Extent in glokas, 2,900. Character, Bengali. Appearance, old.
Chapters on Declension, Syntax, Samasa, and Tad-
dita.
Printed at Dacca.
Colophon : —
Tft t%wH^?rT?rSi<TT^ ’TTf^
at^ci! ?WTTr! I
4377.
3318. The Same.
Substance, country-made paper. 16Jx4 inches. Folia, 118. Lines,
6 on a page. Character, Bengali. Date, Saka 1714. Appearance,
fresh.
From the third pada to the end of the Taddita-pada.
( 89 )
It begins
' 4 ‘ I II
creTOfnit^r^'n’T JZ^ i
W5U% tp^f:
ireii sra l
59A, Tftr *tTf% “ng^
iE^t^r: iinr: witth: I
The Last Colophon : —
Tfa 5RTtf’!^?ffnT%5Ri^T "ng^
sEWTH: I
Post Colophon : —
5|(^T
5iT'?Tft^ •^g^^ fstg^ 11# n^t-sTt^^ng i
?;TiT-?t^qr- 5 rTf^-cf^ft»n^ ( 1713 ) irouftf^^
fcT^I^ II I, II
C\
#g^%^in^ny ff*r nfsR?:^ ^racur i
mg i
4378 .
3313 . The Same.
Substance, country-made paper. IfiJ x 3|^ inches. Folia, 142, Lines,
5 on a page. Character, Bengali of the eighteenth century. Appearance,
discoloured.
The MS. contains Tri-locana’s Pahjika to the Krt-
pada only.
4379 .
3901 . The Same.
Substance, palm-leaf. ISJxll inches. Folia, 23 to 112. Many of
the leaves have lost their marks. Lines, 4 on a page. Character, Bengali
12
( 90 )
Written in a neat, small hand. Date, Saka 1651. Appearance, old, worn-
out, worm-eaten and discoloured. The last two leaves have almost gone
off, specially the last of which only a fourth remains.
The 23rd leaf contains the panjika on the suttra
etc., etc., the 13th suttra of the second pada
of the Catustaya. MS. goes to the end of Taddhita-pada.
Colophon : —
tri^: ^3RTF: I
PotSt Colophon : —
I 4 + + -f ...
4380.
4687. I' he Saine.
Substance, country-inado pap^u’. 10x31 inches. Folia, 62. Lines,
6 on a page. Character, Bonguli of the nineteenth century. Appearance,
fresh. To the end of the fifth pada of Sandhi.
Colophon : —
5FrmF! I
4381.
4557. The Same with Vrtii.
Substance, country-made paper. 16x4 inches. Contains text com-
plete in 65 leaves, Akhyata-pahji, in 77 leaves and Catustaya-pafiji, in III,
separately paged. Character, Bengali in a very modern hand. Appear-
ance, fresh. But the written portion is worn off, for which evidently the
ink is responsible.
( 91 )
4382 .
150. I Durga-vahya-prabodhah.
By Kvla-candra. ,
Annotation on the commentary on T)urga-8imha’s
\ i tti commentary of tlie Kalapa-vyakarana.
The manuscript has been described by Dr. Rajendra-
laJa Mittra under No. 515.
Ooloplion in leaf 33B
4383 .
3412. I Katantm-cmnI riled.
A conwienfary on. Kdimdra by lldm,a~ddsa of ike
IHrghd mfi family.
Subi^tuiice, coixntry-mado paper. 17i x 3 inches. Folia, in two batches,
2() + 36. Linos, 6 on a page. Extent in iilokas, 2,000 + 2,600. Character,
Bengali. Saka, 1645. Appearance, di.sooloured, old and worn-out. To
the end of the eighth pada.
16A of the first batch,
II
The Radhiya brahmanas derive tlieir surnames from
5() villages in which they originally settled in the 8th or
9th century A.D. But three more villages give their
names to these brahmanas. They are regarded as doubt-
ful. Dirgbahgi is one of the three.
WTH5 II
The Last Colophon -
36 of the second batch, JffiRTTrJ »
( 92 )
The Post Colophon Statement : —
»TI3T«i I
^ I WJT I
The first batch begins : —
WB»9 iTc%ffl:r«i i
srm ^%%?r ii
% w??! ftjTJinrHr ^
% s«rtrf5fr smsir’iTfrT i
d
sterrfn
f^f^JtiPf (?) «
®Tg 'VTJIWffT JeffT ®mvTcr)!
’r®T?;: II TWlf^ I
The second batch ends : —
?nar®T^%5^^ffr *r«r®n:®®^JT5i«rf «tT#tfs nsctf^t^
C\
I
4384.
3915. I Kalapa-tattvarnavah,
By Siromanih,
Substance, country-made paper. 15 x 3| inches. Folia, 54. Lines, 7
on a page. Extent in Slokas, 1,600. Character, Bengali. Date, Saka
1711, Appearance, discoloured. Incomplete at the end.
A commentary on five sections of Krt of the Kalapa
grammar.
It begins : —
^mz\ h
v»
®^®trauTnr «%tgrnr tt wh i
'4 ^
®git! «
fr»r»r®iig®!tiKy«sej |t?t! i
nafts^ WT'^ Rn>sr5[T*r^ff% n
HS^T! are} 4 «0ftnf^T! sPC^f^T
N#
^ 5jfinf^?rn TfcT fawfsT’irr^DTt irfeniK^jniTT
>4
(. 93 )
I
^fT3r: ar^ sraminf irrwT-
gM:? >Tftjr?i iiT iafa<
sm^fcr: II
It ends thus : —
’rg ^rt^tsuw crfr fsiiT
I
Colophon : —
jRisni[cr’i^Tin% tri?: wjtttt: i
Post Colophon : —
'# sTTf! I I
Colophons ;—
<• 5 .
21 B, T^T 3\W HJTTTf:; 28A, Ho?
s»
?riTTH! ; 4-OA, fj;? ; 48A, Tffi a??
^TJTTH: I
4385.
1616. 4t|r|*T4MR,r^Kfi^ I Kdlantra-parisistam.
Appendix to the same.
By Mahamahojmdhyaya Brlpati Datta.
Substance, country-made yellow paper. 15x3 inches. Folia, 167.
Lines, 6 on a page. Extent in Slokas, 3,000. Character, Bengali. Date,
Saka 1647. Appearance, old. Complete.
Post Colophon : —
'fi ’rm
'a
’njT f? ?rT% i
iftirmTwN»g?n»i'«T
iffTfiire«BH5iH ii
For description of the work see 1.0. Catal. Nos. 761
and 762 and L. No. 514.
( 94 )
4386.
172. The Same,
This manuscript has been described by Dr. Rajendra-
lala Mittra under No. 514. He has noticed a MS of
Katantra-vrtti under No. 345 which Aufrecht registers as
identical with the work under notice. But the former is an
exposition of the Kalapa-suttras by Durga-siniha and the
latter a supplement to them l)y Sripati-datta.
4386A.
3537. The Same,
Substance, country-inado yellow paper. I()|x4 inches. Folia, 10.
Lines, 8 on a page. Character, Bengali in a modern hand. Appearance
fresh. A fragment.
li he, gins: —
i sjitg i astg^r-
?ig?r ci gra' g i ^srasir i
4387.
4525. The same with appendice,^
A.
Substance, country-made paper. 18 x 4J: inches. Folia, 20. Lines,!)
on a page. Character, Bengali in a very modern hand. Appearance,
fresh.
These twenty leaves contain (1) the original suttras
of Katantra (ending in leaf 17A, Tfa
(2) Sik^a suttra (17 A, Tfti (.3) Paribhasa and
Balabala suttras (ISA, tRt and (4)
Parisi^ta suttra to the end of Nama-prakarana. TfeT gncTsw-
gftftre gTJTggjCT ^ffrnrfr i
Then there are a few lines beginning: grgTgR 5lTui
and ending gx gr^far n
( 96 )
B.
The substance ai\d the measure are the same. Folia, 2. Lines, 3 on
a page. Character, Bengali. Two leaves only containing the first 33
slittras of the Katantra-parisista.
a
I
A commimiary on the Kdtanfra-pariMsta.
By Gopl-rudha Tarkdcdrya,
Number of leaves, 112. Lines, 0 on a page. The substance, the
measure and the character are the same. To the end of Naina-prakarana.
For the beginning of the commentary see H.P.Tl.
Vol. I, 224.
Beginning : —
xjgTj^rsnBjmTXcf ea: i
JTttWTJn:
Colophon : —
60A, Tfa ?ri^-
mxes JTTKT II
Then :-*-
tn4?ftRnr i
’TPTT ftt fgm ’mw-'5%^T H
( 96 )
112, Tft ijftftreH^ sfTJnjsRtu
W! II
4388 .
3897. The Same.
By Oopl-natha Tarkac&rya, the son of Acarya-Simha
Paau-pati by Y of ana.
Substance, country-made paper. 19^x4 inches. Folia, 61 by count-
ing. The leaves are marked up to 49, the rest left unmarked. Lines, 8
on a page. Character, Bengali of the nineteenth century. Appearance,
fresh. Incomplete both ends.
A commentary on the Nama-prakarana and Karaka-
prakarana of Sripati Datta’s Katantra-parisigta. The M8.
breaks off abruptly while dealing with the Upapada-
vibhaktis.
The present MS. containing Nama-prakarana begins : —
'§> srnt JrawTT II
irfm: i
HfwiT srfti'UT: f»TT?:6riwt ^rafiftr ftwa
in'JTT?-^ irr4#l' ii
^hrl5rsri[ sr snu?! cfTfug irnrKfeTwrfviB!
tfg^ f? ?rjf ||
sntftifTiirT^ f^Tf ¥r^ yftftPET i «rsrwvT«ng
^^rrfwnfsfn; ftisn
T?f?» fiinrjf™ i
( 97 )
4389.
1613. The Same.
Substance, country-made yellow paper. 14^x3 inches. Folia, 106,
with marks 38 and 39> 63 to 68 written twice, and two additional leaves
after 68. Lines, 7 on a page. Character, Bengali. Appearance, old.
The MS. covers Saiidlii-prakarana (fol. 56 A) and
Naina- prakarana (106 A) only.
Post Colophon : —
f^fUcTT II
Begins the obverse of 106A: —
M
3iaTTf^= Tf?t i
'•J
For description see f.O. Catal. No. 763. (p. 202).
4390.
1614. The Same,
Substance, country-made yellow paper. 14|x3 inches. Folia, 126.
Lines, 7 on a page. Character, Bengali. Date, Saka 1617. Appearance,
old.
Satva (ends fol. 67A), Natva (ends fol. 72B) Stri-
prakarana (ends fol. 86B) and Samasa-prakarapa (ends
fol. 125A).
Post Colophon : —
%>s% Jtftf I iPfiTs^i: II
ijai! I w^^nTfn^= I >TTg 1
WIT55T! ITsfl % b
ftrfad »
«Rft f» sr xnwtf: »
13
I 98 )
etc.
lifsiftsr, etc.
etc.
N» j
^ffTcTt ^vfTcWT?Tn*^^V« II
For description see I.O. Catal. No. 764, 765, 766.
4391.
3893. I
Kalapa-tanlra-tattva-hodhinl.
A commentary on Srlpati's appendix.
By Bama-candra.
Substance, country-made paper. 16^x3^ inches. Folia, .56. Lines,
(> on a page. Extent in Slokaa, 1,400. Character, Bengali. Appearance,
old and discoloured. Incomplete at the end, till the Mayat-pratyaya-
vidhi.
It begins : —
iriro^ i
II
3'^ ftrei'^KTpnrcis Tnjpwrfiwwt
Tfii irrfWr! I aafii siftm! i a'etifr ’fwifiriisre?
•SiWdjiiffqrti:
ri*m 431 (
^stxfirvmifei’in 'n ■swsHqrftsrjrrfVrsrprj?:!^^ irai-
JTTCWTmii f^afaqK’iT^ vgr(«w4T«f^ 1
{ 99 )
4392.
3449. trr<5inr^^PfT?:5n^iJ i
Parisesa-siddfmita-ratnanhurah,
By Siva- Rama Cakravartl.
Su])stance, country- made paper. 15A x 3J inches. Folia, 46. Lines,
7, 8 on a page. Extent in Slokas, 1,840. 'Character, Bengali of the
eighteenth century. Appearance, discoloured.
Beginning : —
II
^Tfe ci^ftr iT^-
f^T^^FT’^T 5f TTPrftr^T Tft
^T?^fcT irf?T^T^% Ttfir i
This is a commentary on the Nama-prakarana of Sri-
pati Datta’s Katantra-parisi^ta.
See 1.0. Oatal. No. 768.
Colophon : —
5=n?TFnFT i
Sivarama Cakravarti, the commentator, seems to have
been the father of Mathiiresa Vidyalamkara who wrote
a commentary on Amarakosa in A.D. 1666 (I.O. Catal.
No. 968) for students of the school of Supadma. They
belonged to the Sarvanandi Mela. It is curious that while
the father was a student of Kalapa, his son was a student
of Supadma. But it is quite possible in the son of a
Kulina, who generally lived with his uncle on his mother’s
side and followed his profession, being generally quite a
stranger to his father.
( 100 )
Mathuresa’s genealogy is given up to sixth generation
in the ascending scale. The sixth is Sarvananda who
flourished about 1480 when Radhiya brahinanas were
grouped in 36 Melas for the purposes of marriage.
4393.
3409. I
M anorama^ K dtantra-dhdtu-vrttih.
By Bamandtha Bai Gdi, son of V€dagctThha Torlcdcdryci,
Substance, palm-leaf. 17 x H inches. Folia, 100. Lines, 4, 5 on a
page. Extent in slokas, 2,500. Character, Bengali. Date, Saka 1733.
Appearance, fresh. Complete. The MS. is kept between two palm-leaf
rovers.
This relates to the chapter on conjugation of Katantra.
It begins : —
i3Jn*s[ cit ^T«Flin^ i
ITsflKflT II
rtitw i
’T ii
•sfl frap:: rrsnrfir
stm wJT atfl'- «fl5fn?T
5ii?ffeTcU!i sa « « (?)
^Tf^rai I ’TP' U9cf%r«ir*i'H ftrs-
U'«JT 'UT5<<vil<JI*f??-
g4lTT*T^ VT(^fV-
W I Tjfsrcft5«*r«r«
4
I
( 101 )
It ends : —
wflTTHm^ »r “txa:
*rr«f0ff 'SftfTOTT: ^l^f^g
” Tfs JTrw: TanT^rtsfit ufairw! i
Colophon •.■ —
tfa %^^#nT®if(Hw-?:Tf^3i5tseTgsa--'^*TT5n^-
rrsfkwnxt ^icx^xjTg?'^ ^Kxf^ff^fxcJD
^THIKH I ?r*nTi^ RiTtKW I
llayi-gai is a name for certain Radhiya brahmanas
who settled at Rayi-grama.
Post Colophon : —
^[3rT3^T! I 1 I II
xcflXiTTBJlicrt irm^
wfir^«Hf?aT5asi«T^ I
^n% sR^ ^TJn?i:xn;Tsr?f?$
f?rff srjxam tut f^%x3 ii towa i
?f«rT »T« I ’f»T= II
mtiTO etc., etc.,
^5CTJRT?n«rRiff^«ft: RT3T^ ftffeclH I
?rc®?f I
4394.
4720. I Unadi-vrttih.
By Sarva-dhara.
Substance, palm-leaf. 11x2^ inches. Folia, 51, of which the first
is missing. Lines, 6 on a page. Character, old Bengali of the twelfth
century. Appearance, discoloured. Incomplete both ends.
16A, tr«W! tn?: ; 33A, ^iTr8iT»i«4?nc®cft-
auRfiEfl^ t%#hr: I
Aufrecht’s Cat. Cat. Vol. Ill, registers the name of
Sarvadhara, as a commentator of Durga-Simha’s Akhyata-
vrtti; and here we have his commentary on Unadi of
Katantra.
( 102 )
4395.
5580. I Suttra-sara-vyakaramm.
Being an abstract of Kaldpa,
Substance, palm-leaf. 14^ x IJ inches. Folia, 42.,’ Lines, 5 on a page.
Extent in Slokas, 1,100. Character, Odiya. Appearance, good. Complete.
The leaves are numbered only up to the 32nd.
The grammar begins; —
sw! I I
cTBT?:ftnr ir?TrT5nn»!r
JTO larg ii
I
^jnf: i i, etc., etc.
IB, ■Rfa ; 2B, Tfa ;
3A, 3B, xRt ffdr^rRij:; 4A, tRt
; 7A, Tf?r ; 8B, Tfh
xsiu-fli ; lOB, « 5qi»tT^T tfwjfX! ; 11 A, o gj^x^fiT:
; IIB, • |: ; 17B, = ui^M^JX ;
18B, » W TaR^q « x g ftfl?T ; 19B, ® wn?ni! ^wxxn! ; 20B, » «x?x^
; 21A, tRt «r^xx! ^xhtht! ; 21B, o
fTifliftyfiwxn ; 22A, ® ^^ftgflxrirr ; 24A, o g^if^q fxn ^ wmxxr ;
24B, o nvT^: ^nRTKT! ; 25A, ?x>iTftgfT«xn ?r»Tm ; 25B, « gtnxnx-’
?WTwr: ; 26A, » fxT^! ^nmiTt ; 27A, o 5fr>r5fnifw ; 28A, ®
[%]fgjf*r?n^: ^rJTTTrr:; 29A, » fxnnsfixif^x ; 29B, tRst
mxnnjx^! ; 30A, « 31B, e i
Colophons in the unnumbered leaves : —
• wjpem:; » ; • SR’ynrfiinn «wwt;
( 103 )
® ?rjrTHif»r ; o ^u<?nn! wtHi: ; »
^WTfTJT; o w*n%s«r^hTr^! ; »
NJ
o wfrwsf^^TT wnTT ; o cTf^JTiirJif^rT ^rfrrfTT i ^rwrift’s^f irai! i
Post Colophon Statement : —
?;rtt! wgJTrr fstfecjfM I
4396 .
5648. I Pada-rohanarti.
By Utsava-klriti.
Substance, palm-leaf. 12^x11 inches. Folia, 42 by counting. They
are marked 3, 4, 6, 13, 28, 47, 48, 67, 69, 71, 73, 75, 76, 77, 78, 80, 81, 82,
83, 84, 86, 86, 88, 89. 90, 91, 92, 9.3, 94, 96, 96, 100, 101, 102, 103, 104, 109,
110, 111, 112, 113, 114. Character, old Newari.
A fragment of a hitherto unknown grammar of the
school of Katantra, relating to conjugation.
85B, ;
90B, o ; 92A, o ;
93B, o ; 94 A, o
I
4397 .
4789. I Pada-surya-prakriya,
By Mahamahopadhyaya Saranga,
Substance, palm-leaf. 12xlJ inches. Folia, 129. Lines, 5 on a
page. Character, Newari of the sixteenth century. Appearance, old and
discoloured. Incomplete at the end.
See Nep. Gat. Vol. I, p. 114. Where Sarahga and
Utsava-kirtti have been put in a compound word implying
that they may be one and the same person. The previous
work is a shorter recension of the present work.
If begins : —
w>??qT<iTiTT^T5Tr^T ii (?)
( 104 )
5aTfflf%#5»TgfTf?: a^^icl^^jsfr ^ it?TfW1 g4 j ^r^ ! I
^pft^sr^: ■simw tufftfir n
vi4?4ig®Tft«img?rT?m i
^T5rT*IT ^rsfl^rsfiT ^ I
^jt 4 Jjfiiw! ^fo?* ?r4nT^i'S%f?5i: II ■gwt^ i
fsim^T?:««'siT^r farsn^r^ i
^’fr^g’rrei 5TTSi:^: I
afft f<TW f »g% f*r^ xi^ij H
^Tf^srrfl’ cm ^T^?r: impfiT! i
■jmrrf? I
Tjftqnn: — ttw— TfcT ?rTKgfff?:f«rannH i
„ ?:(% ffr«ftararra9iTC'5?%:fncTm
afmaxaT [ ’sf hkjt: i
„ Tfcf ffl'^arxjmr wicfftcr^fnar a?-
^afajaiaTJnvftfaaaix i
4398.
47 83 A. The Same.
Substance, palm-leaf. 12x2} inches. Folia, 175, of which the follow-
ing leaves are missing: 2, 55, 64, 05, 67, 68, 77 to 84, 96, 105, 106, 117,
121, 123, 146, 147, 150. 152, 154, 155, 157, 170 to 174. There are also 13
leaves, without leaf-marks. Character, Newari.
70B, TfeT ftiwr^'ytarana-fa^factTat a^4t fa»r%-
«^a! I
( 106 )
In leaf 112 A, we have the following colophon: —
I
After which there is no more colophon in the num-
bered leaves.
70B, Xf^
I
d
The first leaf unmarked contains the following colo-
phon : —
Uwfi ^^TTHiT I
No more colophon after that.
4399.
10517, I Vidyanarida.
By V ijayananda.
((Jailed also Katantrottara or Siddhananda by Aufrecht in
his Cat Cat. Vol IL)
Substance, country-made jiaper. lHx4 inches. Two batches of
leaves : I contains loaves 42 to 70 ; II, 45 to 59, Of the first batch fol. 59 is
missing and of tho second batch foil. 54, 50, 58 and there are three stray
leaves belonging to the same manuscript. Lines, 8, 9 on a page. Charac-
ter, Nagara ofithe fifteenth century. Appearance, discoloured.
A very rare work.
The first batch contains Vidyananda’s commentary
on Durga-tika on the 40th sutra of the portion of the work
from 2nd pada to the end of the 3rd pada of the Nama-
prakarana.
The second batch contains up to 35th sutra of the
same prakarana. The three stray leaves contain com-
mentary on the first three sutras of the Samasa in the
same.
14
( 106 )
wmH! I
%^^1IT35R^: I
In a later hand : —
Tft ^?ltJTTfJirainsS[^g f (JS(T TI«I^ f?T^% I
4400.
4721. I Sat-karakam.
With a commentary.
Substance, palm-leaf. 12x2 inches. Folia, 21, of which 16, 16 and
19 are missing, while two leaves are marked 17. Lines, 6 on a page.
Character, Newari of the thirteenth century. Appearance, old, discoloured
and worm-eaten. Incomplete at end.
A set of 14 couplets, relating to Karaka and belong-
ing to the school of Katantra. See I.O. Catal. Nos. 785
and 786, the former ascribes it to Vallabhananda and the
latter to Vahasa Nandin. But in East Bengal, where it is
still being taught, it is known to be a work of Rabhasa,
and under that name he is often quoted in Jumara Nan-
din’s Vrtti and in other grammars.
The mahgalacarana verse is to be found on the ob-
verse of the first leaf, and there twice, one in the hand of
the original writer and the other in a later hand. The
verse praises Buddha : w etc.
4401.
3814. The Same,
Substance, country-made paper. 18jx4j inches. Folia, 17. Lines,
8 on a page. Extent in §lokas, 470. Character, Bengali of the seven-
teenth century. Appearance, discoloured and mouse-eaten in the middle.
Complete.
Colophon '. —
Tfa i
( 107 )
Post Cdlophon : —
WT%5r ^4^, etc., etc.
Often noticed and well known.
4402.
4684. SPinSrCt I Kpi-manjari.
By Siva-llama-dasa Barman.
Substance, country-mado yellow paper. 16x:iJ inches. Folia, 6.
Linos, 6 on a page. Extent in slokas, 150. Character, Bengali of the
nineteenth century. Appearance, fresh. Complete.
Colophon : —
^?TTm I
For the work see I.O. Catal. No. 784. The Karikas,
numbering 18, arc accompanied with a commentary most
likely by the author himself. The Karikas end in 2A and
the commentary begins. It belongs to the school of
Katantra.
4403.
3379. The Same.
Substance, country-made paper. 16^x4 inches. Folia, 6. Lines, 6
on a page. Extent in Slokas, 106. Character, Bengali of the early nine-
teenth century. Appearance, fresh. Complete.
A work on verbal suffixes of the Katantra school.
See I.O. Catal. No. 784.
The authorities quoted are : —
Sripati, Durgasihha, Bha^yakara, Narasimha Cakra-
varti, Hema-kara, Durga-mata, Parisi^ta-kara, Sundara-
kaviraja, Jadu-natha, Kamalaksa Cakravarti.
Colophon : —
lEfft ^rmriT i
( 108 )
4404.
3428. 1 I Sabda-sadhya-prabodhinl,
By Rama-nMha Cakra-vartl.
Substance, country-mado paper. 15x4 inches. Folia', 37. Lines, 10
on a page. Extent in .slokas, 1,180, Character, Bengali. Date, B.S.
12(56. Appearance, discoloured. Complete.
Colophon : —
+ + +
I
Post Colophon : —
In a different hand : —
^ ^ a mm \\ ^Tfnr ii ^55 ii «
See H.P.R. No. 355, Vol, L
A work on declension of the Katantra school.
4404A.
3885. The Same.
By Rama-natha Cakravartl.
Substance, palm-leaf. 16x1^ inches. Folia, 89. Lines, 2 to 4 on
a ptkge. Extent in slokas, 1,300. Character, Bengali of the early nine-
teenth century. Appearance, fresh.
See L. 1129.
Colophon : —
^fer 4:JTTstT^r'iT«5Mf^4;fiTcf«[5a[grt?isnf|iri I
4405.
3663. I Sara-nirnayah.
By Ramd-kanta Cakra-vartl, son of Madhu-sudana
Tarka-vdglsa.
Substance, country -made paper. 14x3 inches. Folia, 23. Lines, 7
on a page. Extent in Slokas, 400. Character, Bengali of the eighteenth
century. Appearance, old and discoloured. Complete.
( 109 )
For a description of the work see H.P.R. I, 403.
The commentators of kalapa often quote Sutras from
other Vyakarana such as Panini. Ramakanta explains
with examples these foreign Sutras.
4405A.
6619B. I
Kaiantra-sutra with vrttih.
Substance, country-made paper. 11^x4^ inches. Folia, 64. Lines,
11 on a page. Character, Nagara by a modern hand. Appearance, dis-
coloured.
The MS. is bound with two others.
Foil. 1-6 coidain the chapter on Krdanta of the
Katantra suttras, ending abruptly in the sixth pada.
Foil. 7-22 (marked by me vvilm Bengali numerals in
continuation to the above) contain the section on Taddliita
with Durga-Simha’s vrtti commentarjL This portion begins
in the middle of a sentence on the suffix and goes to
the end of the chapter in fol. 22A.
The rest contains a commentary on the Akhyata
section of the Katantra suttras, ending abruptly in the
middle of the commentary on the 67th suttra.
The commeidary begins : —
2,, VARARUCI.
4406.
5896. VaranicO’Samgrahah.
With commentary Prayoga-vivekah.
Substance, country-made paper. UJx4 inches. Folia, 21. Tiines,
8 on a page. Extent in slokas, 660. Character, Nagara. Date, Sarnvat
1680. Appearance, old. Complete.
A practical grammar in three patalas, and 26 karikas
by Vararuci, the first, treating of Kdraha, the second, and
the third Tihanta and Krdanta of Samdsa and Taddhila.
Published in the Trivendrain Sanskrit series by T. Ganapati
Sastri (who thinks the author to be one of the “Nine
Gems” of the court of Vikramaditya) with Narayana’s
commentary Dipa-prabha. This MS. contains an annon*
ymous commentary entitled Prayoga-viveka.
Beginning : —
4A, Tft XTSW i
^ wfHurq'sin- i
cT I!
. .
^ f^TJT II
jar^T, etc., etc.
7B, Tf^ I
^ ’
{ 111 )
13B, nzw* l
Last Colophon : —
Post Colophon Statement : —
^o|iir3TS[t I
Three more works are also attributed to Vararuci:
(1) Vararuca (Jyobi^a), (2) Vararuca (Lexicon), and
(3) Prakrta-prakasa.
4407.
4857. The same with commentary I
Substance, palm-leaf. 12x2 inches. Folia, 46, of which the following
leaves arc missing ; 16th, 40th and 44th. Linos, 6 on a page. Extent in
Slokas, 1,000. Character, Newari of the fourteenth centurj^ The leaves
^re marked both with the letter and the figure numerals. Appearance, old,
discoloured and damaged. The loaves marked 10 and 41 to 46, the last
have lost about a third, the 39th and the 15th about a half, and the 8th
about three-fourths.
Beginning : —
u^irfn^aT ainii^mftcT: i
5ITai I
amcri ««KTsi f^T II
The same karikas with another anonymous comment-
ary entitled Sambandha-siddhi.
9B, rfir ;
icfu 1
( 112 )
16A, ^njriHnr^fTTiirrft (Taddhita).
29B, xffT ?rRr5«f*T:gT^BrTfttf2w: ?mm: i
Then comes Krt-prayoga with which the work comes
to an end.
Last Colophon : —
mffnffs? ^TJsr^ffrsiRTmsT yfa i
(the author’s name is lost in the lacuna).
y^BJJTvra^JT I
titm hW: II
N>
There is a stray leaf with this MS. bearing the date
4408.
4774. The same here called Prayoga-mukham.
Substance, paliri-loaf. I2|xl2 inches. Folia, 62, of which the fol-
lowing loaves are missing: 1, 3, 62 to 61, Lines, 4, 5 on a page. Ex-
tent in slokas, 1,200. Character, Maithila. Appearance, discoloured
and damaged.
The same karikas with a third anonymous com-
mentary.
14A, sErmw: ; 25A, yfit ?rmmT2?i: ;
41B, yfcf hwhs ; 46B, gsufesynftir: i
fcrsynftirfrfk^rR + +
The last chapter deals with Krt, although the colo-
phon, quoted below, erroneously puts it as Tih-patala.
I
I w ^ tmx’ri
ifswr 1 Tftt wth! a
{ 113 )
4409 .
10750. The Same.
Substance, Nepalese paper. 91x3| inches. Folia, 39. Lines, 10 on
a page. Extent in Slokas, 950. Character, Newari of the eighteenth
century. Appearance, old and discoloured.
Beginning : —
sfJT: I
^ I - WWlITLll I
ssTTi^rT »
12A, Tfti tnrtirf# i ^apilzwTfvrsnir
flUFEnrzwrgwmfjisiTfi! i
20B, Tfs ?WT?ni?9r: »thth! i
31A, Tftt 5^5% ?wiH! I unmfit' fd[ ^ ]
srsftif ?inf^TH: I
35A, fciinrtiriTfiTVT'ir ?rsrfcf wsjiawfiTKn^Tfi: i
36A, ^3iT! ®ar*r?TT t^i^ ftrsr(*ft*!^)^Tf^:
WSpSRTJ I
End ; —
tnsjnT^9i^*rTT ini^in:%= i
vr% II
Tfs 1
?rwwiia« (rf55?nT2^ faqssr [sPTgsi] Tfff 'T'SOIZwt
f^nrfiraT! i
Last Colophon : —
TfH BITTH! I
15
( 114 )
4410.
8515. A commentary on the same.
Substance, country-made paper. 13x4^ inches. Folia, 20, Lines,
11 on a page,' Extent in slokas, 660. Character, Nagara of the nineteenth
century. Appearance, old and worm-eaten. Complete.
The text Prayoga-samgraha is a grammatical work
by Vararuci. This is a commentary on the same.
ijirwm i
fr ^^TsiT JTw fflT^nfrfrni "siTcrar-
fjTiSra! I
End : —
HOTwr<rtwT»?T «!5rei «f«(>TTOii 'n mw
*rafh 5(i2 f45T ?ire f osrfjn: n
Colophon ; —
Vararuci wrote 26 karikas which were very popular
and very useful. Every centre of learning had a com-
mentary on them. Most of the commentaries are without
the names of their authors.
• CANDRA.
4411 .
3823. I Gandra- vydkarariam.
Substance, palm-leaf. 11x2 inches* Folia, 41. Lines, 6 on a page.
Extent in Slokas, 900. Character, old Newari. Appearance, fresh
N.S. 476=A.D. 1366 A.D. Complete.
Colophon : —
Post Colophon : —
I
i
+ + + +
fWlcUR I
Candra-gomi takes or paraphrases the Suttras of
Panini, expunges the Vedic Suttras and Suttras that were
not in much use. He divides the Suttras into 6 adhyayas
of 4 padas each. See p. 249 of the J.A.S.B. 1893.
This is to be differentiated from the Candra Vyakarana
by Candra-carya mentioned in the Raja-tarahgini I. 176
and in the Vakya-padiya II* 489 and also from the Sasaka
Vyakarana, mentioned in Catal. No. 4416. Mallinatha and
Dak^inavartta-natha both quote a sutra from Candra s
Vyakarana namely But the present work
does not contain that Sutra* It seems to be the work of
( 116 )
a Buddhist Pandit named Candra Gomi who was born
according to Pag-Sam-Zom-Zam in the Varendra country
and wrote his work at Candra-dvipa in the 4th or 6th
Century A.D. The word Gomi means a class of Buddhist
upasakas.
For the text and Ananda Datta’s commentary, see
Bendal Cam. Cat. pp. 157, 158, 180, 181, 182 and my
Nep. Cat. pp. 29, 69, 75.
4412 -
9996. The Same.
A.
Five leaves, numbered 2, 22, 24, 34, 35, containing
suttras only, with a colophon in leaf 34B.
VK5 WTH: I
B.
Six leaves numbered 14 to 19, in letter numerals, of
a commentary on the Candra-vyakarana.
C.
Two leaves of a commentary on the same. One on
Samasa and the other on Taddhita.
From 1 to 10 leaves with 2 and 3 missing.
4413 ,
A commentary on Gandra-vyakaram-
By Ratna-mati.
Substance, palm-leaf. 13Jx2| inches. Folia, I. 1 in 30 leaves with
2, 3 and 28 missing, incomplete at the end. I. 2 in leaves marked from
10 to 31 with 16, 18, 26 and 29 missing and with six leaves without mark.
I. 3, 10 leaves. Lines, 8 on a page. Character, Bengali of the eleventh
century. Appearance, old and broken.
We cannot give the beginning of the work in full, as
of the first leaf, about a fourth is lost at the end.
{ 117 )
Beginning : —
*nFr^R5*iTnft^>irnT i
<eiiuii II ft«(S(i«jpt! #irfiT ^hn^-
fsrtiHm I 5iTO%5gjnii% Tfir
«miiH I
Col. I. 1 is wanting.
Col. I. 2. siPinc® ftnswrfaBtmTit #hrnrt
ITK* WTK! I
Col. I. 3. wrfaiscinrt !e^t«r!
?wni: I
The commentary appears to be unique.
CAJ^GU.
4414.
1751. I Cangu-vrtti. I
With its commentary { (?) ) in tripdtha form.
Substance, country-made paper. 10 x4J inches. Folia, 11. Charac-
ter. NSgara. Samvat, 1819. Appearance old.
The work is called Vaiyakarana-jivatu. The author
was evidently a Buddhist and a Kayastha. See Cat. Cat.
613B and L. 2857. It is complete in 56 karikas.
The text in sixty karikas begins
Tgnf: qTrftraT ^ i
Siranr li ii
^ fTOst ^ i
JHiPSlT^ II ^ J|
fwjq! ’Jts^’cngrrait rfa fwfii: i
ftiffw srrf^treiTf^ jrfisax! i
?ww> fi tremr xra; in. ii
End:—
mi# ^ I
?ifl% ii w. ii
?r»w ^rn:% ht% ifl^ ■*! i
5rfe?fT w' flwrwT’frraaT irfir n
Colophon : —
Tfii wmHT II
( 119 )
The commentary begins : —
The commentator tries to explain away the Buddhism
of the author
i
’rg ^ira^f aR^ii
SJ
fit ^ g^ftrfa *:!
IbbtI ftst ^ ^a: «(rni;® aftntg
aijg TOmfTa^Jarftrst inqiiira:
tana i «tRf«n tannat trefw-
^xfgfa aifgg
^ir^rT^irftifiTcft ^uarfa^ai--
HTTftraT
*T^^: ^a Tfa fanmn^ OT^ntaif^
'naia
Wr^t KTSRnd
JTg«a*TT?; Tmfa^T^gi^TKT!
The end of the commentary : —
arfffaawa Tfir anr’q arrafn %fa
arr^ai: Tr«f: ftraj >a fainiri i i rfa arjrTnfrasfft amraft-
I TiWTf^ faiwt ftyi $a! TTftij
gnSft: Tararcnr! ^caiTTaft aratar^
araranfriaf! annai^ af^ a f jga asgt afURTai a^-
anar nra g^nax wa xsfiawr axara: a4ar
ifhr Tanw ^aiftcasaftTfa ^aira: aoa ^ fur^!
Vi
aafan^Hit «t%a a#a a^ jxa a%g xra aar arrg-
ftanfa ajn;#a a^ wat ax axirc aRTxax*?warTx;xa-.
( 120 )
«npn! ^iwt:
I <ir5*iran*?iT ihinrt: t
?r«n -sr^ in^nm Ji!^
5^ ^ssprJrfsg: w ^P<pnriq! T^rrftr wjt!
?r*m^fcr ^<»W'ng^i^ i
Colophon : —
Tfir afgcftf st: I
Post Colophon : —
fansr^wsT^n i
NJ
JTw wrf^sf ^ I
4415.
8923. The Same.
Substance, country-made paper. 12J x 4| inches. Folia, 23. In
Tripfit^a form. Date, Sarpvat 1877. Character, modern Nagara. Appear-
ance, fresh. Complete.
Complete in 57 verses. The same as L. 2857, it
omits the three Buddhist verses of mangalacarana.
It begins with the Uh verse : —
fjnftw ^T^?T5iTfir crfisar: i
«wwt STT 1?%^’? «r 'STIR: U^WT cTcf: (
CTPn «30T^nHn^! 'rt I
To the end : —
After the last verse given in L. 2857, the MS. has
another verse.
?w5m! WT% "RT 1
wwi*ni«|4(i «rfir I
( 121 )
5f«t^ I ^o% ■qfafwfeei «iinfl i
^■niiiT I
The end of the tlkd : —
mw^i^ ?r*n«t5^ Th^ i trf^
jnjn^: T<«nf?: i
?WT«T»n! tftllft I ’C’IiTT: ?IT' I
*r st^’crr ■sisbit i T»n^
Tttsa;! «(?irirr3R: 5fpw I ^ w 5:f^ «ni^ i
^ 3i®“i ^*1 1^ i^* *1*5^^
lorfir ^»n sr wrfif i W' i
i,^ I ^If^T^TBicT Wfireftwt-
gH\'^iTf^f^fl^nif<T|'v^fjr?(^)iTJWcT i ?i*s5^ TJirtf?!
3S> ^stcTTOfa I
In the commentary to the 56th ?ETf*:?RT we have the
following : —
s»
Tpjfhi^ Bt^r^iaRCJir %fhT^ v»w "n^ Tt^t n^ncfl5f[a]’nj
I
4416.
5576B. The Same.
Substance, palm-leaf, 16 x IJ inches. Folia, 22. Lines, 6 on a page.
In trip&tha form. Character, Udiya of the early nineteenth century.
Appearance, fresh. Complete.
Colophon : —
Tfii t^pnPinoiraWlt i
SJ
Both for the text and the commentary see L. 2867.
16
( 122 )
4417.
8468.
Substance, country-made paper. 9x3f inches. Three batches of
leaves. I, foil. 1 to 32 (of which foil. 26 to 31 are missing). II, 2 to 22;
III, 34 to 79. Lines, 5 to 7 on a page. Character, Nagara of the seven-
teenth century. Appearance, discoloured.
I.
Begins : —
sffl: I
wa «THi*rJnpf etc.
It is incomplete, ending : —
^ II «HTS I
II.
Foil. 2-22 — Part of Canga-vyakarana.
4 A, Tft ; 5 A, Tfa ; 6B, ffa ;
8B, Tfa ; lOA, Tfa
«TrTTT= i
So far we have Karikas of Cangu.
Then follow the comments with illustrations, on the
Karikas.
It ends in the middle of the second case-ending.
III.
Foil. 34-79:—
34B, i[f« ; 50B, tfar
; 63A, tfa
I
It ends abruptly : —
Herein the comm, only is given.
SARA8VATA.
4418.
9593. or I
Sutra- sapta-satl or Saras vatl-sutram.
Being sMtras {numbering 700), revealed by Sarasvatl to
A nubhuti-svarupdcdrya .
Substance, country-made paper. 11x6 inches. Folia, 5. Lines, 12
on a page. Extent in Slokas, 70. Character, Nagara. Appearance,
tolerable.
To the end of the chapter on Krdanta. Repeatedly
printed.
4419.
9922. The Same.
Substance, country-made paper. 12x5 inches. Folia, 6. Lines, 10
on a page. Extent in slokas, 64. Character, Nagara. Appearance, old.
Complete.
Colophon : —
I Tfcl C^rruiT
WTHT I
4420.
7888. The Same.
Substance, country-made paper. 9|xlJ inches. Folia, 12. Lines, 7
on a page. Character, modern Nagara. Appearance, fresh. Date, Sam-
vat, 1877.
The leaves are marked on the left hand upper margin,
with the letters ,
Colophon : —
^nRTTT’ I
Post Colophon : —
isrxo go 1
( 124 )
4421.
9020. The Same.
Substance, country-made paper. 10ix4i inches. Folia, 7. Lines,
10 on a page. Extent in slokas, 125. Character, Nagara. Dated, Sam-
vat, 1798. Old. Complete.
Complete in seven leaves. Dated samvat 1798.
Colophon : —
Tftr wtht i
Post Colophon : —
^ ^€T¥ft^=rw Mm xjot
4422.
3302. Commentary on the same.
Substance, country-made paper. 9|x4i inches. Folia, 1 to 7, 1 to
2 and 1 to 3. Lines, 8 on a page. Character, Nagara of the nineteenth
century. Appewanoe, fresh.
The set of leaves from 1 to 3 begins : —
5^twniff9nn%n b?ri% 1
11% fra wsn«r%
The set of leaves from 1 to 2 begins :—
^qfmistra w I
^ ^ I ^ i?tmTTC^a%fiaia
ftrfvi a<T%! iwi«al 1
( 126 )
The set from 1 to 7 begins : —
I ■«Tcf9r: i »i^
4422A.
7210. The Same.
Substance, country-mado paper. 10 x 6 inches. Folium, 1. Lines,
15, 10. Character, Jaina Nagara of the nineteenth century. Appear-
ance, fresh.
Ik
This leaf contains explanations of the first two slokas
of Anubhuti Svarupacarya’s vrtti or Sarasvatl-prakriya.
Beginning : —
3(T^T Hwfii I
?ff^t y =9 ^ TT^: ^ 8 |
=nTOi| 1, € 51T^T II \ II
9?ft% Ti^rfsi ?rffr i ^frrfir ? tun*? \
^ etc., etc.
Tft ; Tfcl ! I
The scribe’s note : I (There are
four lines more, containing a quotation.)
4422B.
11226. ^rr^^PTirfsipErr l Sarasvata-praknya.
By Anubhuti-svarupacarya.
Substance, country-made paper. Five leaves of a grammar marked,
39, 42, 43, 46, 48.
39th leaf Samasa ; rest Taddhita. A fragment.
Post Colophon : —
tRcr sTTw ^ ^ wfmi I
( 126 )
4423.
11110. The Same.
Being the Sarasvata-sutras together with a commentary.
By Anubhtdi-svarupacarya.
Substance, country -made paper. 11x6 inches. Folia, 43, Lines, 18
on a page. Character, modern Jaina Nagara. Appearance, fresh. Com-
plete.
Last Colophon : —
gwre! I a»r: i w etc..
For an analysis of this grammar see Oxf. 382 and
see the introduction of Pada-candrika by Govindacarya.
Oatal. No. 4443.
4423A.
10876. The Same.
Substance, country-made paper. 10x6 inches. Folia, 3 to 38.
Lines, 10 on a page. Character, Nagara of the seventeenth century. Ap-
pearance, discoloured. Incomplete both at the beginning and at the
end.
The arrangement of chapters is a practical one of
Sainjna, Sandhi, Subanta, Strl-pratyaya, Karaka, Samasa,
in which the MS. comes to an end.
3A, ifk I «rg’n l ^
Tft fins I T^‘ I Twf I ^^5 aum Tfa
I 5T[T]?r: I xit:
I ifa ftp< I arai: I srar
Tfa I i ^ Tfk i
( 127 )
4424 .
11058. The Same.
Substance, country-made paper. 9^x5 inches. Folia, 24. Lines, 10,
11 on a page. Character, modern Nagara. Appearance, fresh.
A mere fragment ending abruptly in the declension
of I
One stray leaf about the declension of the words
ending in ^ in the masculine gender.
4425 .
9910. The Same.
Substance, country-made paper. 12x6 inches. Folia, 7. Lines, 13
on a page. Extent in Slokas, 160. Character, Nagara. Appearance, old.
A fragment. To the end of the chapter on Sandhi
only.
See 1.0. Catal. Vol. IJ. p. 210B. No. 790.
4426 .
9170. The Same.
Substance, country-made paper. 12x6 inches. Folia, 7. Lines,
10 on a page. Extent in Slokas, 140. Character, Nagara. Appearance,
tolerable. Incomplete.
This codex contains the chapter on Sandhi of Saras vati-
prakriya by Anubhuti-svarfipa.
4427 .
5685. The Same.
Substance, palm-leaf. 16} xl} inches. Folia, 147. Lines, 3, 4 on a
page. Cnaracter, XJdiya of the eighteenth century. Appearance, good.
To the end of the chapter on Samasa.
( 128 )
4428.
7729. The Same.
A.
Substance, foolscap paper. 10x5 inches. Folia, 76. Lines, 7 on a
page. Character, modern Jaina Nagara. Appearance, fresh. Date, Sam-
vat, 1938.
The first chapter complete.
Colophon : —
g fiti'i l R t WTHT: I Tfs ?Tmilf(®) I
Post Colophon : —
*Ti'^ ^ (The
name i.s blurred over with ink) (The
name of the place, again, is blurred over with
ink) ^■rw’ST Traitr^: i
W’R I etc., etc.
B.
Substance, country-made paper. 11x6 inches. Folia, 33. Lines,
11 on a page. Character, Jaina Nagara. Date, Saravat, 1839. Appear-
ance, discoloured.
The first chapter complete.
Colophon : —
Tfa ^Tf^'snTW^ftr: I
Post Colophon : —
^ ftr^ <L fa'^ fafis-
aH ’Kf«rwT gfa«iT m < 5*) ^a% n
C.
Substance, country-made paper. Iljx6 inches. Folia, 27. Lines,
11 oil a page. Character, modern Jaina NSgara. Appearance, fresh.
The first chapter complete.
( 129 )
Colophon : —
Tftr II
D.
Substance, country-made paper. I0jx4j inches. Folia, 10. Lines,
13 on a page. Character, Jaina Nagara. Appearance, discoloured.
A fragment of the first chapter.
Colophon : —
icftf §fi?firT: I
E.
Substance, country-made paper. 10|x 6 inches. Folia, 21. Lines, 9
on a page. Character, modern Jaina Nagara. Appearance, fresh.
The first chapter incomplete.
20 B, I
It ends abruptly.
F.
Substance, country-made paper. Iljx5| inches. Folia, 12. Lines,
9 on a page. Character, modern Jaina Nagara. Appearance, discoloured.
A mere fragment of the first chapter.
lOA, ; 8, I
A fragment of the first chapter.
4429.
7800. The Same.
Substance, country-made paper. 13} x inches. Folia, 23. Lines,
15 on a page. Character, Jaina N§.gara of the eighteenth century.
Atppearance, discoloured. Incomplete at the end.
Last colophon in the incomplete MS. : —
21B, twng( i <iMf{ n <ii «jnnT I
17
( 130 )
4430 .
11109. The Same,
Substance, country-made paper. 11x6 inches. Folia, 6. Lines, 18
on a page. Character, modern Nagara. Appearance, fresh.
A mere fragment containing the beginning of Akhyata
only.
Beginning : —
KTWgwnr jw: i
^iTtf®d^r ^jim«?n5[Tcr ii
«i«fT^rii(stF?ir*n i
See Lz. 771.
4431 .
273. The Same.
Substance, country-made payior. 9|x5 inches. Folia, 51, Lines,
11 to 15. Extent in Slokas, 1,350. Character, Nagara. Date, Sarpvat
1784. Appearance, old.
A fragment containing the Akhyata chapter only.
End : —
•SJTg^nmtH’tsrlrSrTfJ ’fTm^PfTW I
Colophon : —
?rflTWT i
Post Colophon : —
SRT15T fsnsEm ii y ]rf i
[ 131 )
4432.
9420. The Same.
Substance, country- made paper. 11 xSJ inches. Folia, 31. Lines, 12
a page. Extent in slokas, 750. Character, Nagara. Date, Sarnvat
6. Appearance, old.
Incomplete, from “ ” to the end of the
3t half (cTfsauflinr) I
Post Colophon : —
\e.«< ftrftr + 4Kt
ftnit I w TTsiTf? I
4433.
9178. The Same.
Substance, country-made paper. 10x5 inches. Folia, 45. Linos, 12
a page. Extent in Slokas, 900. Character, Nagara. Appearance,
erablo.
This codex contains the chapters on Akhj^ata and
rt only.
4434.
9162. The Same.
Substance, country-made paper. 13x6 inches. Folia, 67. Lines,
)n a page. Extent in slokas, 1,025. Character, Nagara. Appearance,
erable.
It begins thus : —
^r^T^lT 4T1f% Pl4T% I
( 132 )
It ends thus : —
?r4TTT i flRfirsrTwtrw-
. ftrajuran^Ta^m^^r i
The Last Colophon runs thus ; —
Kif ^rirmt i
4435.
9163. The Same.
Substance, country-made paper. 12x5 inches. Folia, 69. Lines, 8
on a page. Extent in Slokas, 960. Character, Nagara. Date, Samvat
1913. Appearance, tolerable.
Colophon : —
tfir aorafiim i
gHT sftR’oi ngt^fncif n n
«stwaT^ ^ t’5t: I
^?;T^-’n;'raT^-n'sxn-^lcfW^= « ii
VJ
Tfif ?wtht i
Post Colophon ; —
g«Trei II '5^ ^3«tT«i
trfisnn wolsfjra: i
4436.
9451. The Same.
Substance, country-made paper. 9x4 inches. Folia, 29. Lines, 7
on a page. Extent in Slokas, 392. Character, Nagara. Appearance old.
This MS. contains the chapter on Krt of the Saras vata-
prakriya, the most approved exposition of Sarasvata-
sutras, by Anubhuti-svarupacarya.
( 133 )
4437.
8761. The Same,
Substance, country-made paper. 11x5 incbes. Folia, 20. Lines,
13 on a page. Extent in Slokas, 600. Character, Nagara. Dated, Sarp-
vat 1865. Fresh. Complete. (Krt only.)
Complete in twenty leaves.
It begins \ —
ifCTfr: fiT^ n
?irT 1 I
It ends : —
I ■^rerr i
I
*9g*>r5rm n
^T'^rll^T I
ql-cTW^* II
Colophon : —
rf^ :3^*t?TTT«fcTgf?irq’T^T I^Taif^^cfflrcTRT
fi^=frgfs(nTT ^FT^TTHT I ^^TfrrHTS^ 551^^115 I
Post Colophon : —
?T'^ f^fecTT^ Tnn I xi
44 3B.
411. The Saw, e.
Substance, country-made paper. 10Jx6 inches. Folia, 37, the 1st
leaf missing. Lines, 14 on a page. Extent in Slokas, 1,200. Character,
Nagara. Appearance, old.
To the end of the Krdanta chapter.
( 134 )
4439.
4119. A commentary on the same.
By Puhjaraja.
Substance, palm-leaf. 14xlJ inches. Folia, 84 by counting. Lines,
.5 on a page. Character, Udiya of the early eighteenth century. Appear-
ance, oldish. Incomplete at the end.
Beginning : —
?rT?:«cT3imJn^ ii
^VtiftnifTf^Tsa
I
’jJii’Rr «a:*rTi*?T5f i
fif irftii'«rt ’TTfaft^KTJT ii
The leaves are not marked.
Colophons : —
sEf'?iTa«iiTJii l
^TlS'^toSisr
fNiPJt (
Tftr I
II
Tftr ?JTWfr»TO> 5lT^J[?!reiT^ ^sSTSrt I
Tftf ^TTC^crehft asai^i I
ftfTcW n
{ 135 )
ft^tr9ST»?fT5rB^iD^^^n3rTf?f=q?n i
wrt^ ^rg»rtf^:
«?:T*TTr: tPsff T! [fii]nf3^farg5iT^«!rfisftrssr^ n
rfir ^PCPnT! ^ftrTT= ^Tf^^Ts^f^tjTsra: i
€t^T^i II
Tfii I
JaTTsft^T fwf^^Taf^r 5Tf^T: ||
Tfs I
^S5^: tf»r ’5 %’tIT f^lf^^T: It
TfH T^f’rlTsit I
^(raiTIlf*'Jrt^aT II
TffT 'f^fsflTflT I
W»;T3f5r ?‘f^aT: II
€t^rr«rt ^f’tr’ar ^»i^siT i
'iim crw iBf?ii%fa fii^fqaT ii
Tsr^iT'Pfci’rT wK«at^'^^Tifw«n3ciT i
Xf^ I
The MS. is complete.^
See Fol. No. 81, where it is stated that both the
father and uncle of the author were ministers under
Ghiyasuddin Tuglack. The authority for the statement
is, however, not cited there. If the fact is well grounded,
the commentator must have lived at the end of the 14th
century and not at the end of the 15th century as Aufrecht
thinks as Ghiyasuddin, under whom his father and uncle
served, was on the throne of Delhi from 1321 to 1325 A, I)
( 136. )
4440.
8762. The Same.
Substance, country-made paper. OJ x 4 inches. Folia, 61. Lines, 8
on a page. Extent in Slokas, 900, Character, Nagara. Fresh. Incom-
plete
Ending with the declension of the word i
It begins : —
xU etc.
See I.O. p. 212B, No. 801.
Piihjaraja appears to have been a SrJmali Brahniana,
that i.s, belonging to the section of Brahmanas in South-
west of Jodlipura to which the poets Magha belonged.
He helped to acquire the kingdom of Malava (?).
In the comm, on the Mahgalacarana sloka Puhjaraja,
explaining on the word says that some people
think that the Sutras are new, but this cannot be true,
for Nagendrapuri says that Sarasvati revealed the Sutras
to AnubhutL
In leaf 3 A, occurs the following: —
4440A.
6645. The Same,
Substance, foolscap paper. 10x5 inches. Folia, 167. Lines, 13 on
a page. Extent in Slokas, 4176. Character, modern Nagara. Appear-
ance, fresh.
An incomplete commentary on Sarasvata grammar.
The first section only.
( 137 )
Beginning : —
»f«T^ iTV^T*! [*r] »n«?r i
9fjrfw^*imni tixATw^ ii
w '»re(^)53(-5i)% s^'npfr^^ i
«r«r •4lJTfqt;TrT*mf»:«T’3uirTm4: 4\^g*ifa>a^nTnTi5f
ai^ wr35T?^raq44 wn^r^f
BfjinTt f'fljfilw: ; «HKT^a I
gni^.*iTf< I
The pencil note in 70B, giving the scribe’s name and
the date of copying : —
?f \{i((£. Ha4?TT% Tfra^HI^ fa'q^ fsiftsci JTSiV
*nTsn«n^a §• «4tnJi9iwn?t»:^'l'st + + +
Colophon : —
xfa sf^fv^ST^T ^nnnf(w!) i
Tfa n
4441 .
10230. I Sam-pradlpila.
Being a commentary on Anubhuli-svarupacarya’s Sarasvata-
prakriya by Jagan-ndiha.
Substance, country made paper. 9Jx4 inches. Fragmentary, with
leaves marked 2, 10, 11, 27 to 'A2, 40, 4:t to 46, 48. 60, 63, 100 111, 1 12, 114,
119, 120 to 122. Lines, 9 on a page. Character, Nagara. Date, Sanwat
1874. Appearance, old and worn out.
2A, 5[f*B^] + + +
wkrg^^’wrt fssr ti*r»?xr! etc,, etc.
18
( 138 )
The following colophons are found in the fragment : —
29B, Tfa ; 32B, xftr ?rn:-
uftfilSFm ^?:T5?T»r5W^f9rf ; 40B, TWM’li’J’fifisf ;
50B, ; lOOB, Tfa ;
The commentary ends : —
JTcTTJff^^ Tir5^?;aiT^ |
srirflT^it am ^rnisflfqaT ii
«■ sraft avtm^iTHft’srl
fsr8r5r5r«ga*qT«%ci rg’j i
^i^<TfTf»ra^#^n;aTJiTTfr^t:
f^reftr 3isrwraT^?;?tT»T wxfvri ii
Last Colophon : —
Tfir ^fl>Tfsriramf^cf=^aT ^flre^\aT
mift WTH 1
Post Colophon : —
wta«i=(iT I
4442.
4185. JWFfoElT^-
I
Prahhavati a commentary by Krsm-ndtha.
Substance, country-made yellow paper. 16^x4 inches, f'olia, ll.;|.0C.
Lines, 6, 7 on a page. Character, Bengali in a modern hand. Appear-
ance, fresh.
Two chapters only, Taddhita and Akhyata, each
separately paged. Taddhita contains 11 leaves and
Akhyata 66.
( )
Taddhita begins : —
-f
tfnra ^’si-crfscj^ aiTT^ li
clfScT Tfa « %^T II
But Taddhita does not actually come to an end in the
1 1th leaf. There are two leaves more, marked 1 and 2.
In the third line of the first leaf Taddhita comes to an
end : —
Tfti ’ErK^ift^fruifM’RT^ WT5r<tri i
The two leaves contain the following colophons : —
lA, Tf<T ; 2A, Tfcf ; 2B, the
last colophon : i;fcf I
The, Pahjikd of Alchyala begins thus : —
smatsffTsfi i
fnn i
Colophon : —
rfix ?rTX^^l€P?('Tf^5RT^ WRi*ITJTn?lTcTf%%^sn II
4443.
3793. Pada-candrika WRT^rWT^jfNrr I
by Govinddccirya,
Substance, country-made paper. 17^ x 3f inches. Folia, 86, of which
2-4 missing. Lines, 8 on a page. Extent in Slokas, 2,700. Character,
Bengali. Date, Saka 1615. Appearance, discoloured and worn out.
Complete. ^
Colophon : —
Tftr :
( 140 )
Post Colophon : —
xm 1T?T»1T?T I
v^nrfTT ?T»iHT
^«r«tr?-gni Jtm ii
The commentary was written in Saka 1521 = 1599.
Beginning : —
'#> ’Twl irwuT^ I
+ + TOftl ^ I
5tn;raJir ci n Jirfir n
wr^isifafRT ^ iw I
^ ^ft^TSfurr^TO snnflwiwI^siT B
€1^1 i
?rra«t»ii M>«rn asiiTi Tj^f^fs^iRT n
^swrfflr JTT5i«Trifii-^T^Tf?\fir acTwa: i
^TJinir«ir«n: n
m?ft5WT^5^ ’fi'Sfnrt tf i
»imt «rT I
^c%*Brw;: «RT?;%^ am i
^fin wreimrtw-^mtfttw srww' i
fffmsgm wmma %«(T firtft^Tr i
«r?rrsafif 9ffna 5fTx?ii xi^mfmn wm i
mg witf iiBrwT^Txiri act t
nanw Iw^xma ajnfrrxifamaTiftTrm?:
^f?xinHfamx»r^m^rarcrsraa xifawT^ta i
fafis HT'samtrai wraa gfamrox: i
anc^aifk xgmf® axm a ll
( 141 )
For another commentary on the same bha^ya see
H.P.R., Vol. Ill, 344.
This contains the Akhyata and Krt sections only.
65A, tfa ir?-
>11^! i
Post Colophon : —
*iRT HfTOTTO^ eainr nnr' i
»Trai^ wt ii
Then begins the Krt section which goes to the end of
the MS.
Tlie date of the composition of the commentary :—
«!i5(>Tfr ?rTT;^H»mEa^t«in
f? in% n 1521 of the Saka Era.
It ends thus : —
ftrcJS^Psfrrsn^ ^ ftr^wn: i
4444.
4021. The Same.
Substance, country -made paper. njxSi inches. Folia, 2 to S\.
Lines, 8 on a page. Character, Bengali of the eighteenth century. Ap-
pearance discoloured. Incomplete both ends.
6A, TfcT ^iflftRTRTRf^?:f<r?TnTT ?n?:«mTrai^T*iT
5Rn?ITVt TR! I
74 A, Tfii RT ^TC^awnatsWraf trrPs-
sRT^ »rwa^n ’TR' i
( 142 )
Then come the Samasas. The present MS. goes to
the Sa^thl Samasa in which it comes abruptly to an end.
4445.
4526. The same with the text |
Substance, country -made paper. 13 x3J inches. Folia, Coram. : 128,
Text : 93 with tho first pago missing. Lines, 9 on a page. Character,
Bengali. Date, Saka 1642. Appearance, old.
126B, Tfst ^n?;^*rrei2HT?rt if?-
«rT»?iT% '^5^: in?: i
Bha^ya Text : —
3A, Tfs ?n?:^rcT»TT^ ijxw; tt?: i
93B, ^rrc^sHisj Tjfwr ?wtkt i
Post Colophon : —
I
The Bha.?ya is an unique work described here for tho
first time.
4446.
8763. ^rn^ffurf^ i
Sdrasvata-prakriya Tih-adi- vrtti.
Substance, country-made paper. 11x5 inches. Folia, 43. Linos, 10
on a page. Plxtent in islokas, 850. Character, Nagara. Fresh.
Incomplete. Forty-three leaves only ending with
I
The work begins : —
iRTJ?rt
gw:? i
wnaisflinia
jrjiurg?if?r^ »
asrsj w^sgfsiiin f^uj% i
( 143 )
As the word or appears at the left hand
side of every leaf, the MS. appears to be the second part of
the text of Mahidhara-vrtti of the Sarasvata Vyakarana.
But it generally agrees with Catal. No. 4430.
4446A.
11177. The Same.
Substance, country-made paper. 11x4^ inches. Folia, marked 1 to
7, of which the second is missing, and 26 to 28. Lines, 7 to 10 on a page.
Oharactor, modern Nagara. Appearance, fresh. One stray leaf.
A mere fragment of Sarasvat grammar.
Beginning : —
11 aiR:g^TT(fea: fee vlcffeT^ 11
SIDDHANTA-CANDRIKA.
4447 .
9157. I Siddhanta-candrilca.
By EdrndSrama,
Substance, country-made paper. 12x5 inches. Folia, 97, Lines, 9
on a page. Extent in slokas, 1,000. Character, Nagara. Date, Samvat
1913. Appearance, old.
Tliis codex contains only the first part, from thc‘
beginning to the end of Taddhita. It seems to be a com-
mentary independent of that of Anubhuti-svarupa on the
Saras vata grammar.
4448 .
7731. The Same.
I.
Substance, country-made paper. 10x4J inches. Folia, 33. Lines,
15 on a page. Character, Nagara of the seventeenth century. Appear-
ance, discoloured.
The work is complete in two ardhas, tlie first com-
prising the Subanta section; the second the Akhyata
and Krdanta sections. See I.O. Oatal. No. 807-810, and
L. 2919.
The present manuscript goes up to a portion of the
Akhyata (wr« ) . The first half ends in fol.
25B;—
^TfrtHT I i
II.
Substance, country-made paper. 10x4J inches. Folia, 39 to 69.
Lines, 11 to 13 on a page. Character, Nagara. Date, Saipvat 1878.
Appearance, old, discoloured and pasted.
From “ «rar!Tm% ” of the Akhyata to the end.
{ 146 )
Colophon : —
Tft ftrsT*rT^f^T i
Post Colophon : —
«>ci ^,'='3= rr ir%fi3 ijsq
ct^ fat^l fiau^rs i
III.
Substance, country-made paper. 10^x4^ inches. Folia, 32. Lines,
13 on a page. Character, Jaina Nagara. Date, Saipvat 1849. Appear-
ance, dicoloured.
The first half complete.
Colophon :—
HWTH I
Post Colophon : —
JTin xn^ ?t
Jim JJTjfiwt W«THH ’^tTTJTT^WJT^ I
II mfif etc., etc.
IV.
Substance, country-made paper. ll|x 6 inches. Folia, 49. Lines.
11 on a page. Character, Jaina Nagara. Date, Samvat 1866. Appear-
ance, fresh. Complete.
The second half complete.
Colophon : —
Post Colophon : —
fjTfir vn% i
V.
Substance, country-made paper. 10|x4J inches. Folia, 10. Lines,
13 on a page. Character, Jaina Nagara. Appearance, discoloured.
A mere fragment going up to i
19
( 146 )
VI.
Substance, country-made paper. 10 x 6 inches. Folia, 22. Lines, 9
on a page. Character, Jain a Nagara. Date, Saipvat 1896. Appearance,
fresh.
Colophon : —
xfs fwmi i
The Krdanta section only.
Posl Colophon : —
^ + »?lfa t Uflf’tTftr
VII.
Substance, country-raade paper. 10^x6^ inches. Folia, 41. Lines,
10 on a page. Character, Jaina Nagara of the nineteenth century. Ap-
pearance, discoloured. Complete.
From the beginning to the end of Karaka. 41 A
(line 1), I It ends abruptly in the beginning
of Samasa.
VIII.
Substance, country-made paper. 10^x5^ inches. Folia, 29. Lines,
12 on a page. Character, modern Nagara. Appearance, fresh.
From the beginning to Alnp Samasa.
IX.
Substance, country-made paper. 10|x5 inches. Folia, 47 to 103.
Lines, 13 on a page. Character, modern Jaina Nagara, Date, Samvat
1890. Appearance, fresh.
The last half (defective in the beginning: from
fwfw ) I
Last Colophon -. —
niuifspcHanit
!SaWfn! Wijnf WTTKT I
( 147 )
Post Colophon : —
SKT ^ WTWtTW5|fTfA% JTT& ^ Snij
i ftfB ’K* wqn*^f«r
^f%qiT! fwfiseiT! I
X.
Substance, country-made paper. 10^ x 6 inches. Folia, 37. Lines, 13
on a page. Character, modern Jaina Nagara. Date, Saipvat 1900.
Appearance, fresh.
The first half complete.
Colophon : —
ftrgta^ftfqnnirt i
Post Colophon : —
I arairaJT^ I strjqa \4.e» Wa
fa'll « ai?:>at
fiaiflfja ^Efa^jwai&a a^^iant ^qanm
XI.
Substance, country-made paper. 10Jx6 inches. Folia, 37 to 60.
Lines, 9 on a page. Character, modern Jaina Nagara. iDate, Samvat
1900, Appearance, fresh.
From the last few lines of Curadi to the end of
Akhyata.
Colophon : —
xf^ o 1
Post Colophon : —
fiT'8^ ^8 f^o Xlfx I
(The name is blurred over with ink.)
i
( 148 )
4449.
7737. The Same.
Substance, country-made paper. 9x4J inches. Folia, 182. Lines.
10 on a page. Character, Nagara. Date, Sarpvat 1846. Appearance,
discoloured. Complete.
TTwnBftrfa i ?wtht i
Last Colophon : —
182B, lefcT wnn i
Post Colophon : —
X(^xx I
4450.
9182. The Same,
Substance, country*made paper. 12 x 7 inches. Folia, 64. Lines, 10
on a page. Extent in Slokas, 1,200. Character, Nftgara. Date, Sam-
vat 1892. Appearance, tolerable.
This codex contains only the first part.
See L. 2919, Vol. IX, p. 34.
Post Colophon : —
:5*nT^ m I « i
4451.
8757. The Same.
Substance, country paper, llj x4| inches. Folia, 48, of which 32, 33
are missing. Lines, 9 on a page. Extent in Blokas, 800. Character,
Nagara. Old. Incomplete,
To the end of the chapter on I
( 149 )
The Colophon : —
Post Colophon : —
\^84. ^Tfir ^ ciTf^i fmferii etc.
3Tip:»tP^^: fsiforafM ^wcTW-
It ends differently from L. 2919.
On leaf 47B occurs the following : —
sif^Rrfir?rl: trscff^^ srarw i ^*?rerTWT<T wju-
wrnn i ftux ’wfjTT «t5ifl5^ ^sq^JUTg
fief 'Siwir? “ isfi^CTCvpfr ” Tfci *tt^
<Tx:^^ T?itay rsitiatmiinf? i
y^WTXTT fw«KTf[WTf> ft wH3>B ycm Tatayt
S3%cni wi T% f% fT (?)
^jfl: 5EnRT% f^T:5 fiswfilW' ?rm& ^i^f^’krTTW’g
fxc^TxiTPsr^rf^ftTiinf^fi i wia^ faxT^xj^ff ftr*r-
fatnr fa^m fi fi wjfhfaxwfa swiai^
I xmrii i 48 aaritsax^ faw »Taf?t a^i^fixfa
ft^nrt trt a arnw a^nnwr a^a « « aaiaa ’sriax
aaT^arafixia^! aamWafir at i aT^aifaraanajciawawsa
'j
aatarfJT + aifw^ faasa^ faaaa x^aas^jm wralOT ahnaa^
ataana^ faama aa ra^ ai'a aa^ faaaxj;aT! a’faaaa
(?) awf^ad' wajfaT%aafaaia: arTaga ^5r anal a^ fayriam |
arar ftraa a^fa 4)^ aa^wnflfa afetfar^: ajawaa aaaaana
a^ aiaaiTai! ftaaaRf^ g aa f figat! etc.
( 160 )
4452.
7732. The Same,
Substance, country-made paper. 12x6J inches. Folia, 118. Lines.
9 on a page. Character, Jaina Nagara. Date, Samvat 1906. Appear-
ance, fresh.
The second half only.
85B, Tfe Tfif ftrSTsfl
Last Colophon : —
Tftr u^wtfiii^rT Tft “ «»tth /
Post Colophon : —
«»5(tT ftrfir HJrfti
hsrtflsiflT I 11
II
4453.
8758. The Same.
Substance, country paper. lOJ x 6J inches. Folia, 14. Lines, 7 on
a page. Extent in glokas, 200. Character, Nagara. Date, Samvat 1895.
Fresh. Incomplete.
A fragment. Leaves 34, 35, 54-57, 60, 61, 68-73.
It ends : —
fT fiRitwiTfwifTt ^
^ 4T ?fTTrRs(?)'^
■snat: «rgtt^in8 i «rgB[^]infwg^: »nfs?r
siTf-ff trm ^ifr
wTTflvifjrfa wng fiTT5T»iT! ifK
Tfff f«rg« JSTgTTiiw^T’C^ i wi grfwfli^Tgii-
i«r»g4Tr?f i
{ 1«1 )
«TnHT I
fwtiHti ^v 113’ri'q I :gjT »i^T?r i firfa wm^ariT ^
?r«f?T \’=|£.4 I ^ I
4454.
9166. The Same.
Substance, country-made paper. 13x7 inches. Folia, 43. Lines, 0,
7 on a page. Extent in slokas, 380. Character, Nagara. Appearance,
tolerable. Incomplete.
4455.
0774. The Same.
Substance, country-made paper. 13x41 inches. Folia, 40. Lines,!)
on a page. Extent in slokas, 450. Character, Nagara. Date, Sarnvat
1910. Appearance, tolerable. Incomplete.
A well-known grammar.
From leaf 85 to the end in leaf 124.
The Last Colophon runs : —
I
TOj: I ^ i i
4456.
11108. The Same,
With a commentary called | Subodhim.
By Sadananda Gani,
Substance, country-made paper. 11x6 inches. Folia, 12, of which
the second is missing. Lines, 11 on a page. Character, modern Nagara.
Appearance, fresh.
But the first two leaves are mouse-eaten.
A fragment. Akhyata suffixes only.
( 152 )
Colophon : —
^WTTTiH I
4457.
9459. The Same.
Substance, country-made paper. 10^ x 4i inches. Folia, 39. Lines,
9 on a page. Extent in Slokas, 722. Character, Nagara. Appearance,
tolerable.
A fragment containing only the chapter on Sandhi
and a portion of the Suvanta chapter.
For the text .see L'., Vol. IX, No. 2919.
The beginning of the commentary : —
JfJT! I *riT! i
■anar nm
ftrsT*n^[ fssf ii \ ii
(?) n st ii
M
T snufSHiyr i
trf^^yaof: 4- a^xfsraaif ii a «
fr ii a, «
fr ft«tinraT»fl53^xsifiraT»xrB^^anTi i
BT^! s(CTW!xnTfjir! xsjwt « < «
( 163 )
insjT^ irainw ^ nTP!wr»r?:jD>rfjTfiT
^R! I I
4457A.
7319. The Same.
Substance, country -made paper. 10x4^ inches. Folia, 17. Lines,
1 1 on a page. Character, modern Jaina Nagara. Appearance, fresh.
Foil. 1 to 12 are written in one hand the rest in a second hand.
There is a commentary on the Sarasvati-suttra, entitl-
ed Siddhanta-candrika by Raraacandrasrama. Subodhini
is a commentary on that commentary.
The present MS. is a mere fragment of the sub-
commentary. It treats of Sanskrit roots.
Beginning : —
^ JiJf! irw^JT^ WfJT I
etc., etc.
Bnd : —
ftrsrrsrrt^^T^fnTT^srM i
fTOlT®TgTnRRT»T fsif^cTT || \ II
^f«i3RRT! g^TTfrucnfsT^ i
«rg?r5iftT?(T wrax n it
OTRRiTgjs f? Jrin^«gfn[ f i
<r«i^xrg ii ^ ii
Colophon : —
For a description of the first half of Subodhini see
L. 2911 from which Sadananda appears to be a Jaina
of the school of Kharatara.
20
( 164 )
4458.
8760. ?Tw|^f4««r I)
Tattva-dipika (Siddhdnta-candrikd-vyakhya,)
By LokeSakara^ son of Ksemankara and grandson
of Ramakara,
Substance, country paper. 13x6 inches. Folia, 107. Lines, 12 on
a page. Extent in Slokas, 3,700. Character, Nagara. Dated, Samvat
1887. Fresh.
Composed in Samvat 1741 =1685 A.D.
Complete in three parts ; (I) in 68 leaves
of which 43-45 missing, (II) arT»?frasif«JfT in 28 leaves,
(III) in 11 leaves.
[I begins as before : —
Leaf 4A,
ftfranrl fr i
TffT i
„ 25B,
BRrnnfjiT tf^sJncT i
„ .37 B,
WffT^ ...
„ 38B,
39B,
46A,
^fsiTtSITTSimWI^:
wgpn’iTafaJiaT l
49B, 0 wJTT^ wsT^it i
65 A, o fcr»i!jii(T)^fd^TOJT I
62 A, d THr gfd gfaJign i
68B, colophon as in the previous chapters.
( 156 )
Part IL
Beginning : —
^ ^ iftvf I
Leaf 13B, o ff i
„ 16A, fir^PTJT^^TftrJTT I
^cTT^TfRir fi!?^tr?niT i
„ 16A, ftfTcTT ^fir i
ci^^T’^TTJTJrr^cTcT ||
„ 16B, O ^l“%il^^irSTJDT I
«nn?r^Tf?rjn2TOiTjr^q?^Tv»T?? i
„ 17 A, o («rT)^jr?r^’^Tf^j?^2^iT?:^iT^3Fn'^*riT i
„ 18B, O ITcTT cT«1TfV9e\frf31?^T I
„ 19A, o ^HTif ?i?jTf^mT^5r?? i
„ 19B, o fr*rtft(f^: i
„ 23A, o ^TV^i ^sr^ir^fTW jm i
„ 25A, o ^iTT^ra: ^H^rnTrurg^RTiKiT i
„ 26B, o TT^^f^^jTJTTfT HJnfff 35pT^jirr i
„ 27B, o wingT^Tf^^T-^Tim I
„ 28B, o i
The Last Colophon : —
Leaf 28B,
cTf^ftfir^irnn ^Krr^TfnjfifrsrT ii
Part III.
It begins : —
^^fer TTifff »rTKTw?T^Tm^ i
ftrsfTm^f^f?iai5rTcT^T«fa[?[^ n
( 166 )
It ends : —
irpti «irif^*rafTT?ri%^
»rifWHm>fhrfTT^; i fti^rffli iiw^('%)^t?:-
»ra% I I
iRT^fis: ^T^fa ^i^sra l
^t^»ilTQ;gsTT i
g?n^?i»wt^fT<n n
^afa^^gfnwgTr (1741) aT^t ’wftr infa Ttfhra i
JSflm't3<!ai*rtfa«nft^ ftfuaiT faftf^HirirT am n
?f(’nfiBainrTO?:®Tcfts^aT^> wa?^f<n!Tsga i
acr) JT^tarfir Ha-a^r ar^K^xaa^gTTg ii
Colophon : —
T(a ’^Nt%?tartfarfaanTf araftfiiaiTai a^ajafiBar a»a®f i
Post Colophon : —
gxT ^aig t a»rg aft' ftaaia^igt gfar axiram-
ajRTa ftrftaxf jjhjt i
4459 .
8759. The Same.
Substance, country-made paper. 12|x6|^ inches. Folia, 83. Lines,
14 on a page. Extent in §lokas, 2,900. Character, Nagara. Old. In-
complete.
There are 83 leaves (by counting) in disorder. There
are different paginations.
In a leaf marked 57 at the right hand lower corner
we have this:—
w^nraimfcrircn ii
The colophon in the last page runs thus : —
TPT 51U? in4^ I
( 157 )
iRarerfifiT 2 ^^T«rf df4««iiafanaT n
Tfs ^pET3fWlTpS«T3n^t(^ftfinirT «JnfH*Tinc[ I
After this in smaller lines : —
^nsTTfiTT 155%? yft’W I
ipf® a^fttinsTT: % 9rj(Tt|s[ n
irgsr^na’fm Tfriw’r ^hrat 11
?mfmTW3% JTTmwt a
^>sfist?f arJItf I Sfim®: I
It begins : —
'#> ^?l«3i[ra stir: I w: 1
tjnrsrr surai srp? iT%9i irwir^jrr 1
ftrai-rittfs^^TSiT^T fisriH rrrJiftfir^T 11
mfr^^ftnsfri^fcifiTTfr^ f^fra irifw ftrsiftr'^rr^ fsra^fsa t f lf aa
gfasnsft^ ain^ iT%?iTafiranf?aT vr ttm^nr: arnf lmfidrA t^Tmt
3*^ I
In leaf marked 25 occurs the following : —
satrnfiTT ^«Tsrf iwTirfa^aaT 11
Leaf 12 which seems to be a restoration, has the
following : —
ftffaritt iWnTT rrornTTfsirir^t n
4460.
11160. The Same.
Substance, country-made paper. 10x6 inches. Folia, marked 41 to
48. Foil. 41 to 46 were originally marked 16 to 20. These have been
( 16 S )
obliterated and new ones put in a later hand. But still the original
marks can be traced. So fol. 45 does not read with fol. 46. Lines 10
on a page. Appearance, fresh. Character, modern N&gara.
Fol. 46. begins: —
+ + + + + + + + I
4461.
10912. The Same.
Substance, country-made paper. 10 x 5 inches. Folia, 9, marked 40
and 62 to 68. Lines, 10 on a page. Character, modern N&gara. Appear-
ance, fresh. A mere fragment.
.5 IB, i
4462.
11150. The Same.
Substance, country-made paper. 10x6 inches. Folia, 34 to 91, of
which again foil. 40 to 69 are missing. Lines, 9 on a page. Character,
modern Nagara. Appearance, fresh, A mere fragment.
69B, i
«fli«(ifi<Tzl^rpit ifoif^Jiu^TTi*! n
Tfti I
72B, i
«3T5ITftTT B
79A, twRJi firajc ww i
84B, ^jRmn'^nnsti (?) i!
The MS. ends abruptly in the next chapter.
( 159 )
4463.
9685. The Same.
Substance, blue foolscap paper. 12 x 5J inches. Folia, 6. Lines, 10
on a page. Extent in Slokas, 86. Character, Nagara. Appearance, fresh.
Incomplete.
This appears to be a fragment of Lokesakara’s com-
mentary on Siddhanta-chandrika, a commentary on the
Sarasvati-suttras, comprising the Avyaya-varga only from
fa to the end. The first leaf is, however, marked one.
Lokesakara’s commentary is entitled and the
MS. under notice has ci« on the left hand margin of
every leaf.
The importance of this is that it was composed
at Vidya-nagara ; meaning the Vijianagara of the Maho-
medans, the place of Sayana and Madhava, 120 years after
it ceased to be the capital of the country.
The Last Colophon runs : —
I
SAMK§IPTA-SARA.
4464.
10662. A fragrmvi of I Samksipta-sarah,
By KramadUvara.
Substance, country-made paper. 14x3 inches. Folia, 7. Lines, 5
on a page. Character, Bengali of the nineteenth century. Appearance,
discoloured.
The first seven leaves of Sandhi.
As the only clue to the age of the work, we have
many quotations from Kalidasa, Magha and Bharavi in
Jumara Nandin’s Vrtti. We tentatively put it close to
Hema-candra (1092-1173), as between Kramadisvara and
Hcma-candra there are many points of similarity, for
instance both consist of eight chapters, with practically
the same arrangement and ending with a chapter on
Prakrta,
4465.
10799D. The Same.
Four batches of leaves. Country -made paper. In Bengali script of
the eighteenth century. Appearance, discoloured.
I.
Folia, 27, of which 1, 3, 6, 7, 8, 10, 14, 18, 20 are missing. 14x3
inches.
It contains Sandhi, but ends abruptly.
II.
Folia, 38. 16} x 3 inches.
It contains the chapter on Krdanta.
Colophon : —
Tfei WTKJ I
( 161 )
III.
Folia, 18. . 16x 3 inches. The first leaf is missing.
It contains Karaka.
Colophon : —
TfcTo ^W[W- I
In this batch there are four leaves of Karalca, belongiii i^
to some other manuscript.
IV.
Folidr, 26, of which the first two are missing. Linos, 5 on a pagt .
Character, Bengali.
Colophon : —
Along with this ther« are seven leaves of Sandhi and
four stray leaves belonging to the different chapters.
4466.
10663. The Sarne,
A fragment.
Suhstance, country -made paper. 14x3 inches. Folia, 19. Linos, .j
on a page. Character, Bengali of the nineteenth century. Foil. 14, 16,
17, 18 are missing. Appearance, discoloured.
A portion of the chapter of Subanta.
4467.
10799E. The Same,
Substance, country-made paper. 95Jx3J inches. Folia, 54. Lintjs,
6 on a page. Character, Bengali of the nineteenth century. Appearance,
discoloured.
It contains Tifianta.
Colophon : —
TfcT ^TITTK! I
21
( 162 )
4468.
10781. The Same.
I. ( )
Substance, country-made paper. 17 x 3 inches. Folia, 24, Lines, f
on a page. Character, Bengali of the eighteenth century. Appearance
discoloured. Complete.
ir.
Substance, country-made paper. 17x5 inches. Folia, 16. Lines, 5
on a page. Character, Bengali of the eighteenth century. Appearance,
discoloured. Complete.
4469.
10783. The Same tvilh Vrtti.
Substance, country-made paper. Character, Bengali.
There are four hatches of leaves.
T.
17.x 4 inches. Folia, 24. Lines, 5 on a page. Character, Bengali.
Appearance, discoloured.
Tlie first leaf is missing.
('Ontains the iSan(lhi“[)ada of Samksipta-sara.
( \)lophon : —
M
ijw i
ir.
if) X 4. \ inches. Folia, 10,
Contains Taddhita. It is incomplete.
III.
17Jx3J inches. Folia, 47, Lines, 7 on a page.
Contains the commentary on Sandhi-pada of Sain-
hfjipta-sara by Nyaya-paficanana. It is incomplete.
( 163 )
Beginning : —
*131 f!??T firg: waw i
ffasR^n fjR’STTr 3n^n:ftf«f^T ww «
IV.
Kolia, 33. 16^x3| iiiohes. Lines, 6 on a page.
Contains the commentary on Taddhita by Goyi-
candra.
It is incomplete.
4470.
5030. The same ivifh Jumar\s Vrtii on
j
Sul)aUinco, country-made paper. 16x3^ inches. Folia, 8. Lines, 5
on a page. Character, Bengali of tlio eighteenth century. Appearance,
fliscoloured. Complete.
Colophon : —
Tfs ir?T-
?;isrTf5rcT'sr^ft'ff^?;st^fc?itfEreTt^i(?r^5ri)a^«(T«T-
4471.
5087. The Same.
Substance, country-made yellow paper, 16x3| inches. Folia, 4.
Lines, 7 on a page. Character, Bengali of the nineteenth century. Ap-
pearance, old and discoloured.
Colophon : —
•• ^WTH: I
irsruTfn I
Post Colophon : —
srrCt=s-9?ii’^WJnt«Tf?
( 164 )
4472 .
5032. The Same.
Substance, country -made paper. 16x3J inches. Folia, 7. Lines, "
on a page. Character, Bengali of the early nineteenth century. Appear
ance, fresh. Complete.
Colophon ; —
4473 .
10815. The Same.
Substance, country-made paper. 13x2 inches. Folia, 7 (-44 (ol
which foil. 28 to 37 are missing). Linos, 0, 7 on a page. Character,
Bengali of the eighteenth century. Appearance, discoloured.
The seven leaves contain a portion of Unadi-pada of
Sarnksipta-sara ; and the 44 leaves contain a portion of
a commentary on Samksipta-sara.
4474 .
719. The Same.
rrffrnrftf^ ( ) i Taddhita-pariSistani .
By Goyl-candra.
Substance, palm-leaf. 15x2 inches. Folia, 40. Lines, 6 on a page.
Character, Bengali. Appearance, worm-eaten and dilapidated. Com-
plete
Last Colophon runs ; —
If
Printed in Bengali character by Veni-madhava Cakra
varti in Calcutta.
( 165 )
4475.
10771. The Same.
Substance, palm-leaf. inches. Folia, 98. Lines, 4 on a
page. Character, Bengali of the eighteenth century. Appearance, old.
Incomplete at the end.
Beginning : —
(fg €'HIT II
4476.
2617 I Samlcsipta-sara4ika.
By Ooyl-candra,
Substance, country-made paper. 14x3| inches. Folia, 90 (krdanta)
+ 94 (taddhita) + 70 (subanta). Lines, 7, 8 on a page. Character, Bengali,
Date, Saka 1707. Appearance, tolerable.
Goyi-candra’s commentary on Samk^ipta-sara has
been several times printed. The present MS. contains the
commentary on the krdanta, taddhita and subanta chap-
ters, each separately paged.
The date of the MS. at the end of the subanta
chapter : —
Clifts I
4476A.
10840. The Same.
I
Substance, country-made paper. 14x3 inches. Folia, 73. Lines,
5 to 8 on a page. Character, Bengali of the eighteenth century. Appear-
ance, old and discoloured. Complete.
( 166 )
Colophon : —
Post Colophon : —
fisrfesffK ^Wt*'rgT«5!iT»;
SW! II
4477.
3687. The same with vrtti and \tka.
[Commentary on the suhanta chapter of Samksipta-sara .)
By Goyi-candra.
Substance, country-made paper. 12|x 3 inches. Folia, 59. Lines,
on a page. Character, Bengali of the eighteenth century. Appearance
old and discoloured. Complete.
Colophon : —
iTTr^Tsii f^rrsi
4478.
2618. The Same,
( ) I
*
Substance, country-made paper. 15x2J inches. Folia, 95. Line?
6 on a page. Character, Bengali. Date, Saka 1547. Appearance, oh
and discoloured.
The MS. contains the commentary by Goyi-candn
on the Sandhi chapter of Samk?ipta-sara.
Colophon : —
( 167 )
The date and the scribe of the manuscript : —
%g% I fia:=r»T i
^ »n3m i
^r^T^T! jttt ^sjTirfa n «^i^:
4479.
10793. The Same.
(f?T3^:)
Subsfcanoe, country- made paper. 15x2| inches. Folia, 111. Linos.
7 on a page. Character, Bengali. Date, Saka 1601. Appearance, dis-
coloured. Complete.
Colophon : —
?ff5m«rr
Tr'fTCTsrTfsrKT’r-^wstflK^if^'jfrsnf'jaT^Tt ^tott-
VI
Post Colophon : —
«fT% ftT% Tfc (1061)
(some letters effaced)
^%5r hstfear iBJiTsrtr i
^ Jitwim jfifwoifciH i
I
4480.
10792. The Same.
Substance, country-made paper. ISJxS inches. Folia, 109. Lines,
7 on a page. Character, Bengali of the nineteenth century. Appearance,
discoloured. Incomplete.
Ends abruptly in ^ .
( 168 )
4481.
10816. The Same.
(Si^O I
Substance, country-made paper. 12Jx3 inches. Folia, 96. Lines,
7 on a page. Character, Bengali. Date, Saka 1709. Appearance, dis-
coloured. Complete.
Oolophon : —
JTTTrrstTfsrrrsr-
S«
sftlTTK! II
Po4 Colophon : —
*Tf^ I
aWsai flfq%^r (qiTqi) inrsa: ii
iriftr l
a^ftfqjRT%f»f ^qrarqr t%sp»Rr ii
This is an instance of an equation of Saka and
Mallabda and from it it is found that Mallabda began from
616 Saka or 694 A.D.
4482.
6579. The Same.
Substance, unseasoned palm-leaf. 16x IJ inches. Folia, 84, of which
the last is in a different hand on a different kind of leaf. Lines, 6 on a
page. Character, Bengali of the eighteenth century. Appparanoe, soiled.
The MS. breaks off abruptly in the middle of the
commentary on suttra 421 of the krdanta-pada in p. 614
of the Calcutta edition.
( 169 )
4483.
5134. The Same,
and I
Substance, country-made paper. 16Jx3 inches. Folia, 118 + 32.
bines, 8, 9 on a page. Character, Bengali. Date, Saka 1718 and 1720.
.‘\ppearance, fresh.
Tinanta and karaka padas only. Tinanta is com-
plete in 118 leaves and karaka in 32.
Tlie MS. was written very carefully and is full of
marginal notes.
I\>st Colophon Slatement to the Tihanta-pada : —
I
%i§% I jw: ii
Colophon to the karaka-pada : —
yPniflf^u^FfyyTO#t^nri ?wih: ii
Post Colophon Slatement : —
V'syo 4*’ wt I at
^ I
Often noticed and often printed.
4484.
5141. The Same.
( ) I
Substance, palm-leaf. 14^x2 inches. Folia, 79. Lines, 6 on a page,
('haracter, Bengali of the fifteenth century. Appearance, very old, dis-
coloured and worn out.
The Sainasa pada only.
22
( no )
Colophon : —
+ 4 lJTt«fTT2tJifnrr ’arfw;
’iwth! ii
Post Colophon Statement : —
WT% + + 4- + ^iagTfi% vft»pr
fi»ww + + + + % ffult I
’rm^+ + 4-4- + + + + + 4-4-
4 + + + 4-4-44 + + 44
The date is lost in tlie lacuna.
4485.
10782. The 8am.e.
Subs^^ance, country-made paper. 17 x 3. ^ inches. Folia, 78. Lines, 8
on a page. Character, Bengali. Date, Saka 1661. Appearance, dis-
coloured. Complete.
Colophon : —
?rJW: «JTUEr>lT?: seurtth: I
Post Colophon : —
sr^fcr i
I
There are still two lines of writing.
( 171 )
4486.
10769. I
Ooyl ‘Candra-vyalchyana-kaumudl,
( WI8MK: )
. hy Ahhirama Vidyalamkara,
Substance, palm-leaf. 17 x 2 inches. Folia, 93. Lines, 4, 5 on a page.
CJharacter, Bengali. Date, Saka 1629. Appearance, discoloured. Com-
plete.
Colophon : —
T-jt i
Post Colophon : —
etc..
ii ( ? )
After thi.s there are a few stray verses.
Strung with this there are 19 unspecified palm leaves,
which also relate to samasa.
6588.
4487.
I Samksipta-sara-tippanl.
Being an exposition of Ooyl-candra^ s commentary.
{Pada V or karaka,)
By Vamsl-vadana.
Substance, palm-leaf, 19x1^ inches. Folia, 48. Lines, 3, 4 on a
page. Character, Bengali of the eighteenth century. Appearance, old
and worm-eaten. Left incomplete.
( 172 )
There are three and two leaves at the beginning and
at the end, containing stray verses.
On the obverse of the first leaf : —
I
li begins : —
T( ^ Wf\^ li etc., etc.
The commentator’s name docs not appear in the
incomplete manuscript. But the I.O. Catal. has a good
description of Vamsi-vadana’s work, dealing with the
different padas separately. The beginning of its karaka-
pada is the same as quoted above. See I.O. Catal. No. 827.
The Mahgalacarana is, however, not in the I.O. MS.
4488.
2765. 3Err3f;?7ff I V yalcarana-dlpika.
(fi^sfnn^:) 1
By Nyaya-pancanam, son of Vidya-vinoda.
Substance, country-made paper. 13^x2^ inches. Folia, 60. Lines,
7 on a page. Extent in Slokos, 1,700. Character, Bengali. Date, Saka
1700. Appearance, discoloured.
It begins : —
Ri5;H«nr ?WTTzi mi ; t^sr-
^ ’sm I tajTf? I
( 173 )
Colophon
^TJTTH: I
The descendants of the five brahmanas brought to
Bengal who lived in W. Bengal were called Radhiyas.
1'hey were settled in 56 villages from wliich they derived
their titles. Purva-grama is not one of them. But latterly
some of them settled at that village and became known
as Purvagrami.
Post Colophon : —
I fi?rfecftT (?)
4489.
5137. The Same.
Substance, oouritry-inado paper. lGix3 inches. Folia, 43. Line^,
10 on a page. Extent in slokas, 1,720. Character, Bengali. Date, Sakn
1740. Appearance, fresh. Complete.
The commentary on the karaka-pada only.
Beginning : —
I srg nafsirannjrm^srttnTT^sr
fm^Tg»?}ir*rt9r5(fTf=f;!jT? -
I I
Colophon : —
r«?^^T«f*raaT^ «%TWTt;^airr!rr
( 174 )
Post Colophon Statement : —
For the commentary see I.O. Catal. No. 830.
Aufrecht gives the author’s title as Nyayalamkara.
4490.
3581. The Same.
An exposition of Goy'icandra^ s commentary on Samhsipta-
Sara, by Nydya-pancanana.
Substance, country-made paper. 16x3 inches. Lines, 7, 8 on a page
Character, Bengali. Appearance, fresh.
Contains the commentaries on ; —
T. Sandhi-pada, complete in 53 leaves, dated Saka
1634.
«fnK! i
l^ost (Joto'phon : —
cTifw 8BT
On the reverse of the last leaf there is a page of
taddhita-pada.
II. Tinanta pada, complete in 100 leaves, dated Saka
1681. The 22nd leaf is missing.
Colophon ; —
WRTH! 1
( 175 )
Post Colophon : —
-n I ^^CTJT II
III. Krdanta-pada, complete in 51 leaves, dated
Saka 1681.
Colophon : —
^4tirf»Tf^aif'siuw>sj?:i5u:Tfstf^T^ i
?rs<wret]7'?Twrtfsf»w^>fji 5TS iiTr: «
TfcT v4^rifJTfBW«iTf5ifsf-Tr’?TTnrT'rraTnr-^f%^T-
a^sRlTT?! WATH: I
Post Colophon ; —
sijn *tflr! I jut; h n
^w- II *w: ii i
^caxs^x: wxh^ n
fwftxfj:^ ^'faI%5i:%59X*Riii: i%ax 'xx i
IV. Suvanta-pada, complete in 40 leaves, of which
5 to 20 are missing.
Colophon : —
xxfd ^f?ia«ixfiif^r-xx^xTi'?txxxwix^-^ft’5lxf^ii\?x-
W5i-^^x^iTrgx‘i5x®ax’!iT ?xt''’gH«xx;#Nixxii 3ixax(xTx)x:-
^tfTaX^ ^^5fT<TX?: ^XflXXf! 1
Post Colophon : —
fwfxfxx ^T?«riasx^r^ll!l I
See 1.0. Catal. No. 830.
( 176 )
4491.
3311. The Same.
Subatanoe, country-made paper. 18 inches. Folia, 33. Lines,
8 on a page. Extent in si okas, 825. Character, Bengali. Date, Sake
1646. Appearance, discoloured.
The MS. contains the chapter on Karaka only.
Colophon : —
l'^ M ^T^l^rfFTT^T ^ T
Post Colophon : —
^ fxTclT ^ II
This is an exposition of Goyi-candra’s Samksipta-sara-
tika.
The commentator and his father arc known by their
titles only, feggeling gives the father’s name as Vanesvara
and the son’s name as Narayana, apparently on the
authority of L. 1594.
4492.
3159. The Same.
(l^) I
Substance, country-made paper. 184 x 34 inches. Folia, 43. Lines,
7 on a page. Extent in slokas, 1,690 as given on the margin by a
former purchaser who gfi^ve for it Ks. 3 '4. Character, Bengali. Date,
Saka 1647. Appearance, old and discoloured. Complete.
Colophon : —
ftr- JJTTWvr'nwn^-^tf^’EiT-
w>?T(?t»r-:^NjiwjTn*r-«cn i
( 177
Post Colophon : —
- it^rrs^T! fiTftis ^8T ^ %J9% Hftr i
^rrJTTJT JfiT! II
irariw ^ "^ + + i
(^^^8s) ai jfiiTii^: ii
It begins : —
^wuifiiigaiT tWiraftT^RTaff^ -n ar’SiR’fraT?-
JTTf:»WHn> at^TKtilT ar^CrftwbTH^T^ g 5f f q»ii iT<g^
^ f? II Tsnf? I
4493.
3564.
F yakara-sara-laharl .
By Kavi-candra.
Substonco, country -made paper. 17 x 3i inches. Folia, 82. Lines,
a page. Extent in slokas, 1,900. Character, Bengali. Date, Saka
^36. Appearance, fresh. Complete.
Last Colophon : —
TfrT ?n?T!IT«5t ?nin: «JTT»f-
«JTm: I
Post Colophon : —
1 T« II
4^ f5rfq^«ft?07r 5IW II
{\^S)
W% f?5T! I
Jim ' 5 ?:>TT^?TJT II
71% HT^fir ^7?q7*l^
n?i?T I
S*
23
( 178
vTuzcrram (?i
TJjffflSHT ITTKWTfl Hop
WTfira >t^ n
’f ’T ’f Tt*T*T^
TRinnT f^TPftr «S^ *T %f^ I
3*5 wfttiT HT™*i II i
It ends : —
^«l>?r?:: I ^Tft^T^ ^WTT^! | H^STT
unttui I «rt^ »iei i w »v ^Wrfis
I smn ’Rat «rHR?ft i % Rr«rni q q ra q
iTOTaq I ir>sR«f! qifqw! q’qftranfq i
( 179 )
4494.
Sam ksipta-sarlya- Prdkrta-pdda4lka.
By Ndrdyana Vidyavinoda.
For the manuscript see L. 1594.
The commentator appears to be Narayana Vidya-
vinoda and not Vidyavinoda son of Narayana as Rajendra-
lala says. He was the son of Vanes vara, son of Jatadhara,
and brother of Chattri, who belonged to the Purva-grami
clan of the Radhiya Brahmanas of the Vatsya-gottra.
See the second verse from the beginning in L. 1594.
The Post Colophon Statement : —
I
5c!?T
^«T?5rf«cfXTT^
(1705) ii
»nn %’i^t ^
wm ’5.^, etc., etc., etc.
^ i hcwt:
\®0ll
wTftr ’j’liRiai ftr% I
uaftw ^?rt STF! ^ «
i 180 )
4495.
694. ( jnraTnrr^j ) i
Samlcsipta-sdra-rasavatl^vrttih ( Prakrta-padah).
Substance, country-made paper. 15x3^ inches. Folia, 27. Lines,
6, 6 on a page. Extent in §loka8, 43G. Character, Bengali. Appearance,
tolerable. Complete.
Printed in Bengali character by Veni-madhava Cakra-
vartl in Calcutta.
4496.
3.555.
Suvar) ta-durghatah, .
Substance, country-made paper. 14^x3^ inches. Folia, 17. Lines,
9 on a page. Extent in alokas, 660. Character, Bengali of the eighteenth
century. Appearance, fresh. Complete.
It belongs to the school of Samk^ipta-sara.
See H.P.R., Vol. I, 409.
[t is generally known by the name of Jnapaka.
Colophon : —
Tftf «*TTTt: I
4497.
4850. \
Substance, palm-leaf. 13x2 inches. Folia, 27. Lines, 4 on a page.
Extent in Slokas, 326. Character, Maithila. Date, L.S. 166. Appearance,
old and discoloured. Complete.
Beginning : —
^ I
wN WWlilT ffi5€3r% I
?fjr^ w eawT ,
f«R^ I ^
UTOi I T«rrf^ I
( 181 )
End : — ^
^ei^THT* I TftHT
r mHf wa ’«jTgftg'<JTiJBT=fn?a
^stJi^^: 1 TTHf ’TOTO
fwfisejfW? I (?) ’»« JTW \8 n
There is nothing in this MS. to show that it belongs
to Saink§ipta-sara school iill the sutras quoted belong to
Panini.
4498.
2135. I Dasa-hala-karika,
By T)asa-hala»
Substance, country -made paper. 9|x4| inches. Folia, 6. Lines, 6
on a page. Extent in Slokas, 150. Character, Nagara of the nineteenth
century. Appearance, fresh. Complete.
Dasa-bala-karika begins in leaf'SB; —
For a description of the work see L. 2804 and see I.O.
Catal. No. 843 (p. 228). Memorial verses on different
forms of the same roots in different ganas. It belongs to
the Samksipta-sara or Jaumara school. It is composed
by Dasa-bala.
First two leaves and 3A are taken up with a number
of well known verses on a variety of topics. Such as
In leaf 1 A : —
sTTJsram Ta: i
nr i
Leaf 2A : —
N. vj
( 182 )
Leaf 3A :
fy?f if ’f
frarffer^^ ^ i
ifwirnfit
fT<rhT^’T ^ II
4499.
10783A. The Same.
Substance, country-made paper. 16x3 inches. Folia, 2. Lines, 10
on a page. Character, Bengali of the eighteenth century. Appearance,
old and discoloured. Complete.
Complete in thirty-six karikas.
Colophon : —
Tf*r i
Beginning : —
ftfwflUs^fentK'sini wgTiTaw ii
We find after thirty-six karikas.
jm^l: i
v: yftngff n
4500.
5109. I Vasu-dhatu-karika.
With a commentary.
Substance, country-made paper. 18x3^ inches. Folia, 6. Lines, 4
on a page. In tripatha-form. Character, Bengali of the nineteenth
century. Appearance, fresh.
For the text see L. 2921 and I.O. Catal. No. 841. A
set of 17 memorial stanzas.
The blank page of the first leaf of the I.O. manuscript
contains the title Saqikfipta-sara-sammata-vasudhatu-
( 183 )
karika. But it has no colophon. The present manuscript
has a colophon, in which it is said to be a work of Panini.
Post Colophon Statement : —
The commentary begins : —
^ ^ ^TT I ansf?f «rnii?r% i ^
^ flH^ I ^fhTH I
4601.
10824. I Sandhi-pada-pamktih.
With a commentary.
By Vaidya-natha.
Substance, country-made yellow paper. 13x3 inches. Folia, 9. In
tripatha form. Character, Bengali of the nineteenth century. Appear-
ance, fresh. Complete.
Colophon : —
TfH ?mun: i
Commentary : —
WJUKT I
These leaves contain some subtle points, with their
solutions, in the Sandhi-pada of Sarnk^ipta-sara.
Beginning : —
5IH: ftCTT^r I
ufflun®r irufa: i
'iifNraw TT^lUT II
lifkflTiTW 1
( 184 )
flW! I ’nJT’STI^sWTT I 'll WIJIKT^-
I •sniR!ii: ct^ i \ n «fig srg ^janrrt: ^iwjunf
farrw «inj ^feftm^tynnwnr i
?ir»iTf%(irTfir I
The commentary begins ; —
sri«: y-snrsrsTJfr^ir ■VT<j5r5*if^*TR4»Twrr^’TT^r
I etc., etc.
4502.
,3538B.
Substance, country-made paper. 13|x 3 inches. Folia, 12, Lines, 9
on a page. Character, Bengali of the nineteenth century. Appearance,
discoloured and writing effaced. Incomplete at the end.
It begins thus : —
The writing is so much effaced in the first and the
last leaves, that they cannot be read fully. It belongs to
the school of Samk^ipta-sara and treats of Karaka.
The name of the book is unknown. It has been called
from its contents.
HEMA-CANDRA.
4503.
7997A. I
Siddha-Hema-camlrdbhidhana-svopajna-sabdanu-
sdsana-vrtiih.
By Hejna-candra,
Substance, country-made paper. 10 X 4^ inches. Folia, 103. Lines,
17 on a page. Character, Jama Nagara. Date (in a different and later
hand). Sara vat, 1679. Appearance, old and discoloured.
It contains ten pMas, namely, the four padas of the
first adhyaya, the four of the second and the first two
of the third.
The four padas of the first chapter and the first two
of the second are here grouped together under tlie name
of Prathama-^atpada, for which see W. No. 1679.
The remaining four padas make up the second group,
called which begins in 51 A, ^ ii Jrm:
s»
etc., etc.
On the left hand upper corner of the first leaf and of the
50th in which II. 2 ends, occur the words
similarly in the 51st and the last leaves we have
c!
The Last Colophon of the Madhyaina-pada-vrhad-
vriti : —
24
( 186 )
Post Colophon : —
vimw- i
Tfir ^JffTHT B ’^TT^Tcn:
II
The date is given in a later hand : —
^<'01 \o f^ 1 ^To
ftc’TT^T fir^T^ HT^TiTT^: ii
The entire work consists ot eight adhyayas, the first
six of which are concerned with Sanskrit, the last two
with Prakrta. It generally goes with the author’s own
commentary, the Vrtti.
Hema-candra, a well-known Jaina writer, was born in
1092 and died in 1173, was pupil of Devacandra Suri and
was the teacher of King Kumarapala. He wrote the work
at the request of Siddha-raja.
For a description of the work and the literature that
grew round it, see W., pp. 208 to 254.
4504.
2609. A shorter (m^) commentary on the same.
Substance, country-made paper. 10x4^ inches. Folia, 131. Lines,
21, on a page. Character, Jaina Nagara. Appearance, discoloured. To
the end of the seventh adhyaya.
Colophon : —
«fwwiw-?rTw^rarr«T^ nyS: i
The Post Colophon Statement : —
server \i\<i ^
( 187 )
See L. 3096.
For an account of Hema-candra see Peterson’s fourth
report, p. 6.
4505.
2567. The Same.
Substance, country-made paper. 10x4^ inches. Folia, 73. Lines,
15 on a page. Extent in slokas, 4,000. Character, Jaina Nagara of the
seventeenth century. Appearance, discoloured. To the end of the fourth
pad a of the 6fth adhyaya.
The Last Colophon : —
It begins : —
?trT I SR!I*5 qcwTiWT’i I
^(SfT ii \ »
«rr I iT?:%05»rT n^mrei
I ftrfs: ^TfT^T5T I
^repTT’tt ii ’snsRifr i 'ngiiimT «^T>ti
5!HTnnT =?f i ^ cnr i
TO! II
4506.
10874. The Same.
Substance, country-made paper. 10x4 inches. Folia, 18 to 36.
Lines, 7, 8 on a page. Character, N&gara of the eighteenth century. Ap-
pearance, fresh.
A mere fragment.
25A, Tfs >rT[*T]lJTOf I
36B, t1% nwww i
Pada III begins : —
( 188 )
■fisia ^ w^ci:
'tllcl! I T- «Tjft
etc., etc.
4507 .
10097. The Same.
{With Gh. VIII on Prakrta.)
Substance, foolscap paper. 8x5 inches. Pages, 88. Lines, 20 on a
page. Character, modern Nagara, Appearance, fresh.
P. 50, s,(i(«*(T«inr^ iraH! i
Last Colophon : —
=ff*nTT: II
Post Colophon : —
+ + 4- I
«rff trt *1 ■?icr^w*nrr ii
arfriawsif^JiTaJT'WTVK^f^iir! %»?H i
In English also : —
Sahitya-bhaskara Oahgadhara Kasi Ahkalesvara.
4508 .
7997B. The Same.
Substance, country -made paper. 10|x4J inches. Folia, 70. Lines,
13 on a page. Character, Jaina Nagara. Date, Samvat, 1634. Appear-
ance, fresh. Complete. ^
Adhy. VIII only dealing with Prakrt in four padas.
Last Colophon : —
^PEHTUrni: ?riTTK! ^rWTBT I
( 189 )
Then we have a Prasasti ; —
grf^^lif«tTci?ra! n
^wsrfir si^5iwTiTfffiw^tT! i
tsr ^ftfjgTTsr rfir nw firsi gj%fe n
f«r^3i ^gT^t^stginTn^T fstwhrg^ir ^ g^^ttajm’srr i
T%^T^ 5 «^^‘^irfa^ai<«T sm^JT^nr iwn3^?E% v- n
asT^fir I
f«tr?JT Vls^l^SlIWffltr II
rfir H?rfw! I
Then comes the date of the MS. : —
asiNmf^ %fecT
4*NjT»TTrwi^ ^<=11, ssft^i:, »i^ra ii
In a later hand : ^8oo n
4509.
2502. The Same.
For the MS. and the work see L. 2449.
The commentary is entitled ‘Prakasika.’ Twice
printed.
Post Colophon : —
yiJnnsffinTaiTf^jnf i
4510.
285. The Same.
Substance, country -made paper. 14x4| inches. Folia, 112. Lines,
7 on a page. Extent in Slokas, 2,240. Character, Nagara, Date, Sam-
vat, 1896. Appearance, fresh.
( 190 )
The codex contains the eighth book of the above
grammar.
See Rajedralala No. 2449.
The MS. is defective. It begins from : —
fHjft II ^ ?iTJrT:?rra«Tfr:ift n
Tf« faRJJ, B ^ II
End : —
m®7r -STs?^ (^)gr?:fiH
Tfij IT^fiT I f«t
ftnrfjjT ffrcftr, ?rt ftri^rreJir flfwrq i a?fi
1f|Tgqi<pftiS^T I
Colophon : —
T<*iT^ra-^ ftr3%fl'n«srrf>rErT>r5sft'T’sr-
^rejugrwra^ vr?;; « tfg
^ «JTTH«TV I
The Po3t Colophon Statement : —
t,'=44,, "STTfi ’Sij II ^ II II
JTlfWR^ I
4511.
10737. The Same.
Substance, country-made paper. 9x4 inches. Folia, 94. Lines, 9
to 11 on a page. Character, Newari of the seventeenth century. Appear-
ance, discoloured.
Adhy. VIII (on Prakrta) only.
Last Colophon : —
( 191 )
WTTfpr »rT?rfis i
^JuTtfc + + + + 5K
gijTfrs^faiR^WTis^J!?! I
^g^Tar Tfit ^g^lfa gifi w-
ctgiTWr^ WJTSifjT u^mrcTTXf-
ftl[ fW ]3JWfil! c| « [ ! ] I
^*r g-aisft
^sftfifrgKTar Tin siw f^iai ii
?r*j?iT ’^g?;’ag)cVnnmn5T
'' '■j ^
fsi?^<rg5g g5f aj i
^T^TJT^HT ||
«T>ftftr f^a^?:TirJTf?5^w-
OS d »i I
^iHif^tfr f*r + + « fcif^R5r*™
1 »Rg II
4512.
7814. The Same.
Substance, country-made paper. 13| x 6 inches. Folia, 29. Lines,
11 on a page. Character, modern Jaina Nagara. Appearance, fresh. A
mere fragment.
The only colophon found liere is that of VIIJ. 1 in
fol. 26A.
25A, ^^fr^nftr»;p5rar5rT f«^tiT^«jT5Tvi’rgf^T^ir«?Tg-
«i«wgiiajisigf xjt^: i
The MS. ends abruptly in the 61st sutra of the
second pada.
( 192 )
The work has been edited, in the Roman character,
with a German translation and notes, by R. Pischel, 1879,
1880. See also Aufrecht, Cat. Bodl., Nos. 410, 4i].
4513 .
3049. i
8 vo'pajna-dhatu-pdrayanam.
An exposition of the various meanings of the verbal
roots, met with in the Siddha Hema-candra Vyakarana,
by Hema-candra himself. A very useful work.
For the manuscript and the work see L. 4019.
4514 .
7998. i
Svopajna-dhdtu-pdtha-vivaranani.
By Harsa-kirtti Suri,
Substance, country-made paper. 10^x4 inches. Folia, 81, of which
the first five are missing. Lines, 16 on a page. Extent in Slokas, 3,600
Character, Jaina Nagara. Date, Samvat 1672. Appearance, old and
discoloured.
Colophon : —
Post Colophon : —
?wnii *rT^ i
^flphrrit^^qTaf^KRT n
4^ 4fTfM4fEf4 It 4o •
jrftwjfft*rr ft* ftraftm i ftt
440?! II ^ wrj ( II ^<»<> In a later hand).
( 193 )
In a later hand: Wild (A name is
blurred qver with ink)
It [ends : —
^nnrn'gift^r^rcm'tjriiF^mjmi i
wTgirraftr^ *;*g ^nK^ajjaigii ii
a^wctnsw^'jn %*rfdTTfirar! i
fT»?)T«r^5taT %a f»ihSici> si^Tf^* n
( Tfh Hiw ) II
fsnrraTaitn^nrf^ ■uT<ia%fa % wa:(ai) i
«ii%aTT«rf: ipcTT! ^rSf VTs^aT »
^wvTg^stm^aTtawf^aT i
arcT^stiltTr^afsraWTnTii ag: ii
g ii
Tfe flH^snrafT aaaftaa^f i
^Tg^aPha^: Saj: arfaaf^jw: aw n
afaw I
«[Tfw[«t]?fw«iraTg awTjfta; ^ai i
aff%arafaa»jaT%af^arTOa= ww^: n
war^w^C?) %g danra faalaw i
a^T^ng wsavTgaf w4^afa^tnir ii
%a5^ fifWf^V iiafawrr?;)?lfaa: i
aircrffHTralwsia dawTa ii
a^T w^vrgar w^^Pr^^ani i
n^T II (?)
aw afafwaTaft^a% w*j?)?;^arfwa:
w«ajiii: I
25
?rTr?r: + + TriJi^xstHfra: it
^ fsRW I
^iTti«Tfirf«w^T;«i ■qx’rft ^ira: tmmT + +
fs^f sTTirift^ins’if^x:: ’tftT«3Rl'«iT^= ii
(<nsi? =ffinriT »t?t gi
f^XTJT + + TWTf I
^IT»T ?n'fTfT%W»jfjTixf<T51T ^Tf«I(T:
^■. II
?n%: ?raf? WTriif%xx
^?reTWeX3T«siT^5|i^t (?) waf^T^ I
f^^Tfgxmra%wssTi%Hfiift
TfnaT(»if’if5^a3g(?i)w^VTgm3^ ?r?c-
II
mgnT3?!J #t%xr itmi •xnga^fjr^'^ i
fw’siT«nTr^T^«^wwTc«: ii
araJTTU gvx: f^fxt f*r^rat wfxr ll
This work as composed by Harsa-kirtti much honoured
by Mala Deva the Raja of Jadhapura in the middle of the
16th century. His Guru obtained from Akbar the village
K^auma and a comfortable seat. The previous Gurus of
this Nagapurlyagaccha were honoured by Hambira Baja
of Mevar, Allauddin Khiliji, Fcroj Saha, Sekundar Lodi
and others.
( 195 )
4515.
8000.
Svopajna4{ngd wmdsana- v Ivarayiam.
By Acdrya fl ema-CMndra.
With Durga- pada-pmbodhay a sub-commentary.
By H't i- V( dial) ha.
Substance, country-raado paper. 9.^x4 Jiiches. Folia, 79. Jjines,
14 on a page. Fjxtent in slokas, 3,200. Character, Jaina Nagara of the
eighteenth century. Appearance, old and discoloured. Complete. The
sub-commentary is written on the margins.
Last ( 'olophon : —
wrn I
kings^Kjlhe sub-comineiitary) : —
ffdi I
f
tPost Colophon : —
A-iiw ^ j,
.■frea Tl’iftsm MjfaT I
( ? ) ^T'^^’sifjr^rrjrt: ii
%
The sub-commentary was composed at Yodha-pura in
Sarnvat 1661, under King Surya Simha.
For the vivarana see W. No. 1691 and for Durga-pada-
prabodha, W. No. 1692.
Hema-candra’s Linganusasana is a metrical treatise
on the gender and is meant as a supplement to his Sab-
danusasana.
( 196 )
4516.
10186. I Durga-pada-prahodhah.
Being a commentary on Hema-candra^s Lingdn'usasana,
By Srl-Vallabha Vdcaka, the pupil of Jhdna-vimala
Pdthaka.
Substance, country- made paper. 9^x4^ inches. Folia, 31, of
which the 21at is missing and the 19th and 20th are extremely dilapidated.
Lines, 17 to 19 on a page. Character, Jaina Nagara of the seventeenth
century. Appearance, old and discoloured. A fragment.
For the commentary see W., pp. 250, 251, No. 1692,
from the concluding verses in which it appears to have
been composed in A.D. 1605 at Yodha-pura during the
reign of Surya Simha.
4517.
7980. I Kriyd-ratna-samuccayah.
By Guna-ratna Suri.
Substance, country-made paper. 10| x 4J inches Folia, 26. Lines,
23 on a page. Extent in slokas, 2,250. Character, Jaina Nagara +Ke
seventeenth century. Appearance, old and discoloured. It en'^
It treats of verbs in aecordanee with Hema-c, j
Dhatu-patha.
TSJWtfJTVTg^T II
II ^ ll
spsffirftwr! ^
I
MUGDHA-BODHA.
4618.
10028. I
Mugdha-bodha-vyakaranam,
By Vopadeva.
Substance, country-made paper. 10 x5i inches. Folia, 8 + 36 -f- 43 -f 19.
Lines, 11, 12 on a page. Character, Niagara of the eighteenth century.
Appearance, discoloured. Complete.
Last Colophon : —
WTTT I
See I.O. Catal. 848 to 850. Often printed both in
Europe and India.
Composed during the middle of the thirteenth cen-
tury A.D. at Devagiri under the patronage of 'l^acTavL
kings of the place.
4519.
^ 5078. The Same,
Substance, country-made yellow paper. 16x3^ inches. Folia, 105
mnes, 7 on a page. Character, Bengali. Date, S.K. 1758. Appearance^
fresh. Complete.
The concluding verse : —
'STV ^ wJTwwtiil «-
^arr: % % »r ll
Colophon ; —
{ 198 )
Post’ Colophon Statement : —
4520 .
5034. The Same.
Substance, naner ^ • r tti i- iia t-
/r ; 1 13|^x4 inches. Folia, 110. Lines,
^^b**M’'^®pu,^i!^’^'Karacter, Bengali. Date, Saka 171 1. Appearance, old and
discoloured. Complete.
Last Colophon : —
WflTHfl I
Post Colophon Statement : —
in% (1711)
tiWt i
spsfu'JTt
4521 .
5193. The Same.
Substance, country-made paper. 14x4^ inches. Folia, 4 to 10.
Lines, 7 on a page. Character, Bengali of the early nineteenth century.
Appearance, old. A mere fragment.
4522 .
178A. The Same.
A fragment from wt^ct ’b ? to i
4523 .
3334. I M ugdha-bodha- ti kd.
A commentary. By Rdmanandacarya,
Substa»ice, country- made paper. 10x3 inches. Folia, 166 by count-
ing. Lines, 8, 9 on a page. Extent in slokas, 6,000. Character, Bengali,
Date, Saka 1679. Appearance, old, discoloured and dilapidated.
( 199 )
There are eight more leaves. Tliey appear to be a
restoration. But as the leaf marks in most of the leaves
are effaced, and the handwriting also is effaced, we can-
not put the leaves in proper order.
For the commentary see T.O. Oatal. No. 852 and
L. 395.
Colophon : —
Post Colophon : —
^ I
^5fFT55^Tt I
ftrferTT -^l-JTrTT tl
The commentator was the Court Pundit of the Kish-
nagore llaj Family about 1700 A.D. He became a San-
nyasi in his advanced age.
4524.
5335. ;gTV%cSiTc|n;i![ft^ I
M iigdha-hodha’iyyahim'iia-tlka .
A comyneniary. By Devl-dasa.
Fragments of different MSS. of the commentary
written in l^engali of the 19th century.
See I.O Catal., 852.
I.
Thirteen leaves from the beginning to the end of
Sandhi.
{ 200 )
It begins thus : —
■an^^rrajTww^ asB% h-stt \ ii etc., etc.
IT.
Twenty-three leaves belonging to Sabda.
Colophon : —
Post Colophon : —
ITT.
Four leaves belonging to Stritva.
Colophon : —
IV.
Twenty-eight leaves, from the beginning of Karaka
to the end of Taddhita after which there are six leaves
belonging to Krt.
V.
Eleven leaves belonging to Tyadyanta.
Colophon -. —
Tfu (*n^*w»iT«iafn?iT*i<Ft i
Post Colophon : —
fwfeuftriJnfol^nwi’i
% ?pir<re®«iT»nfr 1
One stray leaf.
( 201 )
4626.
178B. I Mugdha-bodha-tika.
A commentary. By Durga-dasa.
The manuscript has been noticed in L 4'^.
See also I.O. Catal., 855.
To the beginning of Avyayibhava.
Durga-dasa says in his commentary of Kavi-kalpa-
druma, that he is a Gahguli and the son of a Sarva-
bl^auma. From this Siva-narayana Siromani, the editor
of Kavi-kalpa-druma, has inferred that he was the son of
celebrated Vasu-deva Sarva-bhauma the founder of the
greatness of Nava-dvipa as a seat of learning. But Vasu-
deva was not a Gahguli, he was a Banerji (see Brahmana
Kiianda, Banger Jatiya Itihasa p. 295). Again Durga-
dasa in his commentary on Mugdha-bodha compliments
Vidya-nivasa as the Adya or ancient ooihitieutator ,of
Mugdha-bodha. So he must have been posterior to Vidya-
nivasa who flourished about the end of the 16th century,
that is, about a century later than Vasu-deva. So Durga-
dasa must have flourished either at the end of the 17th or
the beginning of 18th century, or later.
4525A.
5071 . The Same.
Substance country-made paper. 16x3^ inches. Folia, 248. Lines, 7
on a page. Character, Bengali. B.S. 1148. Appearance, discoloured.
Complete.
Last Colophon
zWt I
26
.( 202 )
Post Colophon Statement : —
WB’: (B S. 1148 ?)
jtjt: etc., etc.
4526 .
4477. The Same.
Substance, country-made paper. 19 x 4 inches. Krt is complete in 43
leaves and Taddita in 34 leaves. Lines, 7 on a page. Character, Bengali
of the early nineteenth century. Appearance, faded.
4527 .
5045. The Same.
Substance, country-made paper. 16x4 inches. Folia, 228 + 26 1-7.
Lines, 7, 8 on a page. Character, Bengali of the early nineteenth century
Appearance, discoloured.
T.
Leaves marked 1 to 228 begin in the beginning and
go to the end of the chapter on conjugation. The la.st
nine leaves (220 to 228) are a restoration, with the date
B.S. 1259.
Colophon : — -
I
Post Colophon : —
mm
The obverse of the first leaf contains the following : —
I
( 203 )
II.
The leaves marked I to 26 begin in the beginning of
the Krdanta and come to the commentary on the sfittra
III.
1 to 7 leaves. A fragment.
Beginning : —
'# ilift 1
I fiinTTf*lfflTT ^T^fJTfcT I
I ^T^:5nif^TVrTWTcf I
It breaks off abruptly in the beginning of Adhi-
hirana. (This is the same as 4535.)
There are three stray leaves, one of whieli is ma-rked
3 and contains the end of Durganama-inahatmya. The
beginning of the Durganama-mahatmya is to be found on
the obverse of the first leaf of Mugdha-bodha-parisij^ta.
Colophon : —
Post Colophon Statement : —
s»
One stray leaf contains i
The obverse contains some Udhhata slokas.
( 204 )
4628 .
3393. I Balaka-bodhinld
By Vallabha Vidya-vaglm^ son of Shyama-dasa
Mukherji.
Substance, country-made yellow paper. 17x5 inches. Folia, 22
Linos, 7, 8 on a page. Character, Bengali in a modern hand. Appear-
ance, fresh.
A mere fragment going up to the suttra . Tt
comes abruptly to an end.
See I.O. Catal. No. 858, in which it is stated that
quotations are to be met with in it from the works
of Durga-dasa, Devi-dasa, Ramananda, Vidya-nivasa and
Vidya-vagisa (perhaps Durga-dasa).
4529 .
822. I Mtigdha-bodha-tlk^,
A commentary. By Kdrtikeya Siddhanta.
For the manuscript see L. 1604.
A commentary on the Mugdha-bodha Grammar of
Vopadeva, which ends with the chapter on Krt. The MS.
contains only the last two chapters, Tibanta-pada and
Krt-pada in two separate paginations, Tibanta in 190
and Krt in 94.
After closing the commentary, the author, after
showing humility as usual, gives a genealogy of his family
beginning from his great grandfather, an inhabitant of
Vaidya-dahga, which Rajendralala omits to give.
( 205 )
s*
^PEfl %cRnr4rT lwrwTf*f^T^ i
32^ firfilW^-lllfiTfET: WifNrJ II
cTcT^’Tt iftTHPT- TT cT^jQSfJ i
"itm
f^^fT%^ft:inT I
Tj^Hrafr?r fji thttwi* ii
11 ^3[JTf ^^fef I #^TfT: 11
^^^[ 5r ] JTPT^:, etc.
4530.
823. The Same.
By Karttikeya Siddhanta.
It contains the commentary on the Taddhita-pada
of Mugdha-bodha.
For the p;anuscript see L. 1605.
Post Colophon Statement : —
n:??n5?,T: ^mwra-
II n
It often speaks of Vidya-nivasa as an authoritative
and the early commentator and appears to be very
modern as quoting and refuting even Durga-dasa Vidya-
vagisa. He consults also 8rl Rama Tarkavagisa, Kasi-
svara, Vacas-pati (27B), Kama-dhenu.
( 206 )
4531.
702. I SetU'Samgrahah.
A commentary. By Oanga-dhara, son of Siva-prasdda
Tarka-pancanana of Knmuira-haiia.
For the MS. see ]j. 1540 and for the work [.0 Catal.
862.
The commentator was a Pandita in the Sanskrit
College, Calcutta, in its early days.
The Tika was composed in Saka 1757™ 1835 A.D.
l.e , 12 years after the foundation of the Sanskrit College,
Calcutta, and the present manuscript was copied in Saka
1766, nine years after the composition of the work.
mTT II
4532.
3378. 1 M\i(jdha-b()dha-farmstam
By KasVsvara.
Substance, country-made paper. 14x3J inches. Folia, 61. Lines,
7, 8 on a page. Character, Bengali of the eighteenth century. Appear-
ance, faded and worn out.
To the end of the cha|)ter on conjugation,
See 1.0. Catal. No. 872.
4533.
3873. The Same.
Substance, country-made paper. 13x3 inches. Folia, 49, of which
11 to 14 are missing. Lines, 6 on a page. Extent in Slokas, 900. Charac-
ter, Bengali of the eighteenth century. Appearance, fresh.
207
4534.
3:55)2. The Same.
(Krdantn chapter only.)
Substance, coiuitry-iriRdo paper. 10^x4 mclios. Folia, 8. Lines,
7 on a page. Extent in slokas, 200. Cbaraetor, Bengali of the early
nineteenth century. Appearance, f-nled.
Beginning ; —
Colophon : —
i=nTTHiR 1
4535.
5115. I M ugdha-hodha-parisistam.
By N andd'kiHora Chakra-vartl Bhattacarya.
Substance, country-made yellow paper. 12Jx3.| inches. Folia, 4
(marked 1 to 3 and one not marked). Lines, 7 on a page. Character,
Bengali of the early nineteenth century. Appearance, fresh. A mere
fragment.
Beginning : —
^ I ftfi^TfsrfJTTi !RT?:«lfftTftT I
^TCJBT^ »jftT
55jTf%! I <*rTJrf%^iri»T3R?:T*rr5inim: i
In the leaf marked 3, it deals with Karana. The
leaf unmarked is written on one side only and contains
the beginning of Taddhita.
( 208 )
4536 .
3325. The Same.
Substance, country-made paper. 16^x3^ inches. Folia, 26. Lin«;8,
6 on a page. Extent in §lokas, 450. Character, Bengali of the early
nineteenth century. Appearance, old.
A .supplement to Vopadeva’s Mugdha-bodlia. For
tlie beginning of the work see I.O. Oatal. No. 873. The
pre.sent MS. contains the chapters on Karaka, Sama‘ia,
and Taddhita. The MS. de.scribed in L. 2210 contains
those three chapters only.
4537 .
3328. I Karaka-lakmnam.
Substance, country-made yellow paper. 16x3J inches. Folia, !),
Lines, 9 on a page. Extent in Slokas, 315. Character, Bengali of the early
nineteenth century. Appearance, fresh.
It ends : —
It begins : —
amfir I
^ '*t I
wscRTflii n
fr »
wg# <j I
fg^t^TT ^ftr sitffiT ii
«incw ’V g ■sp^tf'Sar i
ingjft Tranrt: g ?nnfl n
( 209 )
inrtJTw iTRimJT i
^ ^4SRim ??)■ ^Tr% ?ifiT n
f'ffW'5'JT^f %»:^ (
Twrf? I
A lucid exposition in verse of the chapter on Karaka
of Vopadeva’s Mngdha-hodha. It is very rich in quota-
tions and very useful for a scientific study of the Syntax
of Sanskrit.
4537A.
10708. I Karahollasah.
By Bhdrala Mallika.
Substance, country-mad© paper. 15x3^ inches. Folia, 7. Lines,
5, 6 on a page. Extent in slokas, 140. Character, Bengali. Date, Saka
1677. Appearance, old and discoloured. Complete.
A treatise on Sanskrit syntax by Bharata Mallika who
belonged to the Mugdha-bodha School.
Colophon : —
rfcT f fa^Tiwar-
Post Colophon : —
’wt jrahuT^ II
Beginning : —
5r?^T I
sRrlftT u^if HT?rt a
^i?r fflnmjw wit i
I
n «Tvf^g*ThtT-^9W*nT««R^TOT! «
27
( 210 )
^ftfccns i
^rm iftf%s<! ?r?T Htfa i
fn^ ^ w»wtw>T^5aw^r3RT: n
The work ends : —
4538.
94-55. I Kavi-kalpa-drumah.
By Vopadeva,
Substance, country-made paper. 9^x4 inches. Folia, 16. Lines, II
on a page. Extent in Slokas, 400. Character, Nagara. Date, Samvnt
1494. Appearance, old.
The first leaf missing. See I.O. Catal. 875.
Colophon : —
■5:fcT TEJigin^t WTW5 I
Post Colophon : —
\8«18 WW
II I!
if II ^ II n II
4539.
4378. The Same,
Substance, country. made yellow paper. 12x2i inches. Folia, 34.
Lines. 6 on a page. Character, Bengali. Date, Baka 1736. Appearance,
fresh. Complete.
Post Colophon Statement : —
( 211 )
4640.
5182. The Same.
Substance, country-made paper. 16x3J inches. Folia, 24. Lines,
5 on a page. Character, Bengali. Appearance, old and discoloured.
Written in a beautiful hand of the early nineteenth century. Complete.
Colophon : —
4541.
7785, The mme with commentary by the author^
entitled Kavya-kama-dhenu .
Substance, country-made paper. 10x5 inches. Folia, 4. Character,
raoclern .Taina Niigar.c Appearance, fresh. Tripatha form. A mere
fragment,
4541A,
6776. The Same.
With the same commentary.
Substance, country-made paper. 10| x 5 inches. Folia, 6. In tri-
pAtha form. (Character, modern Jaina Nagara. Appearance, fresh A
fragment
4641B.
6976, ^ The Same.
With the same commentary.
Substance, foolscap paper. 9x4| inches. Folia, 13. In Tripatha
form. Character, modern Jaina Nagara. Appearance, fresh. A mere
fragment. To the end of the bases ending in na.
4542.
8868. I Kavya-kama-dhenuh .
Substance, country-made paper. 10x6 inches. Folia, 61. Lines, 9,
10 on a page. Character, Nagara of the nineteenth century. Appear-
ance, discoloured. Complete.
See I.O. Catal. 877, 878.
( 2ia )
4643.
2837. The Same.
Subataiice, country-made paper. 14x3J inches. Folia, 23. Lities,
9 on a page. Character, Bengali of the nineteenth century. Appearance,
fresh. Incomplete at the end.
4544.
385. The Same.
Substance, country-made paper. 16x4 inches. Folia, 46. Lines, 7,
K oil a page Extent in Slokas, 1288. Character, Bengali. Date, Saka
1773. Appearance, fresh. Complete.
The Post Colophon Statement : —
JiTJrT;Tsi ^sRrg?ci?rt i
^rwTKtw nan I
4545.
4580. The Same.
Substance, country-made paper. ISJx 3 inches. Folia, 44. Lines, 7,
8 on a page. Character, Bengali. Date, Saka 1611. Appearance, old.
Writing effaced in many leaves. Complete.
Post Colophon : —
4546.
4552. The Same,
Substance, country-made paper. 14x3 inches. Folia, 41. Lines, 8
on a page. Character, Bengali. Date, B.S. 1241. Appearance, fresh.
Complete.
( 213 )
Post Colophon : —
HT5? aTft?9 ^T^JH I
4547 .
3336. vrgfHw I DhatU’dlpika.
A commentary on Kavi-kalpa-druma.
By Durga-dasa.
Substance, country-made yellow paper. inches. Folia, 73
Lines, 8 on a psgo. Chara(;ter, Bengali of the early eighteenth century.
Appearance, fresh. Complete.
The MS. gives the date of the composition of the
commentary as Saka Soma-rase^u-bhurni, that is, 1561 =
1639 A.D. The verse runs thus : —
^irf^T^ TRt I
f^T^DT ff H
In the next number the first line of the sloka, giving
the date, is written otherwise.
In Siva Narayana Siromani’s edition of Kavi-kalpa-
druma we find, in the place of the chronogram,
Durga-dasa Vidya-vagisa is generally accepted as the
son of Vasu-deva Sarva-bhauma, the well-known leader
of the Naiyayika thought of Nadia, who flourished in the
fifteenth century. This belief is absolutely unfounded.
As to the real age of our commentator, the genuine-
ness of the above quoted chronogram is open to doubt,
having regard to the different readings in its place, as
{ 214 )
shewn above, but we are supplied with two landmarks
of his date by Durga-dasa himself.
(1) He speaks of Vidya-nivasa in the preface to his
commentary on Mugdha-bodha, as the first commentator,
followed by many others. So the difference between
their times, is evidently great. Now, this Vidya-nivasa,
we have strong reasons to think, was no other than the
father of Visva-natha Tarka-pancanaiia. He is always
mentioned by his title, Vidya-nivasa, and never by name
(KMi-natha). Nq other Vidya-nivasa of any reputation
is known. This Vidya-nivasa was the contemporary of
Akbar.
(2; He quotes and refutes even Rama Tarka-vagisa,
whose living descendant is ninth from him.
See 1.0. Oatal. 880.
4548.
4016. The Same.
Substance, country -made paper. 15J x 2f inches. Folia, 101. Lines,
6 on a page. Character, Bengali of the eighteenth century. Appearance,
discoloured. Complete.
Colophon : —
eWt i rmlY i
4549.
.'ll 14. The Same.
Substemce, country-made paper. 17x4 inches. Folia, 60. Lines, 8,
10 on a page. Character, Bengali of the early nineteenth century. Ap-
pearance, fresh. Complete.
Colophon : —
( 215
4550 .
10669.
Substance, country-made paper. 13x2 inches. Folia, 27. Lin<
6 on a page. Character, Bengali of the eighteenth century. Appearam
old and discoloured.
A book of Sanskrit roots.
Beginning : —
Last Colophon : —
xfir «rr*frT^nT«f: i w?:® ii
wiKi^Tf^ etc.
4551 .
1680. I Dhatu-manjarl.
By Kasl-naiha.
Substance, country-made paper. 11^x4^ inches. Folia, 36. Lin
11 on a page. Extent in slokas, 1,100. Character, Nagara. Date, Sam^
1713. Complete.
Colophon ; —
-sjigJTW^ icrfifirw: ■«'
JT^ I
Post Colophon : —
I TSnf? I
The work begins : —
® rw KUTinm 5®T»it •mgwfp?! i
HT*KT ’S[T«r?T[ ■ j^WT «insEr^ t
( 216 )
aiqnfT I i kw: m%sr
c\
This work belongs to the Panini School. It gives
illustrations to explain the meanings of roots.
4551A.
3512. I Karaka^candrika,
By Rama'Candra.
Substance, country-made paper. 19x3^ inches. Folia, 24. Lines, G
on a page. Extent in Slokas, 700. Character, Bengali. Date, Sakn,
1 031. Appearance, discoloured. Complete.
ll begins thus : —
Itf JtTT ^IXTJT'^'sft fkw: I
gTVUHTWmm
The object of the work : —
«
xew «rfiT #$ncx:
SI ^
I etc., etc.
This is a clear exposition of the syntax of Sanskrit,
based on ancient Karikas on the subject.
Then we get the date of the composition of the
work : —
(?) ^T% ?:wr5^ i
m (?) n
I put a query on the chronogram because the work
cannot be so early as it quotes Supadma Vyakarana in
page 9B and the Smartta Bhattacarya in 20A.
( 217 )
Colophon : —
SEWT^ I
The scribe’s note : —
f^ti^ I I
4551B.
3394. W|tT|<h4^|H| I V arltiha-mala.
By Rama-candra Vidyalamkara, disciple of Jagan-ndtha
Tarica-pahcanana.
Substance, country*made paper. 16x4 inches. Folia, 24. Lines,
5 on a page. Extent in Slokas, 480. Character, Bengali in a modern
hand.
A collection of the supplementary suttras from
Durga-dasa’s commentary on Mugdha-bodha by a student
of tiagan-natha Tarka-panctoana.
Jagan-natlia Tarka-pancanana was a very learned
Pandita of Triveni in .the Hooghly District who used to get
a pension from the E.I. Company and who wrote a Code
of Hindu Law for the use in the Courts in British India.
The author was a pupil of the Pandita.
It begins :~
w II
Tm I!
It ends : —
28
( 218 )
srimfir “n
^hcuT^'S^dwrf^^ra^f i
?r>*IirT ??ITW JTfjgFPTO^ II
Colophon : —
WJTtHT I
45510.
7072 .
Substance, country-made paper. 10|x 5 inches. Folium, I. Lines,
15. Character, modern Nagara. Appearance, fresh.
This leaf contains some examples of Sandhi, with
rules.
SUPADMA.
4552.
4768. I Supadma-Vyakaranam.
By Padrna-nahha.
Substance, country -made paper. 15J x inches. Folia, 170 by count-
ing. Lines, 5, 6 on a page. Character, Bengali. Appearance, new
Prom the beginning to the end of Samasa. Of Tad-
(Uiita the MS. has live leaves only
Sec J.O. Catal. 883, 884
The author lived in the middle of the fourteenth
century in Mithilii at Bhora-grama. See below.
4553.
4592. The Same.
I.
Substance, country-made paper. 19x3 inches. Folia, 186. Lines,
6, 6 on a page. Character, Bengali. Date, Saka 1730. The first leaf is
missing. Incomplete in the beginning.
Published by the late Pandita Hrsikesa Sastri.
Last Colophon : —
ii
Post Colophon : —
Although the last leaf is marked 186, there are 11
leaves more, as Nos. 30 to 39 mark two sets of leaves and
after the second 39th leaf there is one more leaf
marked 39.
{ 220 )
II.
Substance, country-made papftr. 16x3^ inches. Folia, 21. Fines,
10 on a page. Character, Bengali of the early nineteenth century. Ap-
pearance, old. Complete.
This contains a portion of Dhatu-patha of Supadma-
vyakarana from Bhuvadi to (\iradi.
4554.
3507. I Siipadma^makarandahu
A commentary on Supadnia by Visnu Misra.
Substance, palm-leaf. 17 x 1| inches. Folio, 136. Lines, 6 on a page.
Character, Bengali. Written in a neat, small hand. Appearance, dis-
coloured. Date, Saka 1636. To the end of the second chapter.
See I.O. Cutal. No. 885 and H.P. H., Vol. I, 408, and
Vol. Ill, 353.
Colophon : —
Tffi ii
The scribe's note: —
?rrfw wt
^ fw'Sfiat f5i%g ^sfr WJT I
jffancTT
was f*rT ii
?n^pTj ^VT %f»i5 w «
4655.
7985. The Same.
Substance, country-made paper. 14Jx4 inches. From Pada
Kadamba to Aluk; each chapter separately paged — 4+ 16-1- 17 -f 16 (of
which the eighth is missing) -f- 37 -f 9. Character, Bengali of the early nine-
teenth century. Appearance, old and discoloured.
A fragment of Supadma-makranda by Vi^nu Misra.
( 221 )
4556 .
7993 I Supadwu-tilcd,
A commentary on the Stipadma-Vyakaram.
By Rdma-mnkara Tarka-pahcdnana,
Substance, country-made paper. 15^x3] inches. Folia, 10. Lines,
i) on a page. (Jharacter, modern Bengali. Appearance, fresh. A mere
fragui'Mit.
Begimiing : —
cTOT II
ct^iT^TiriTqrf'^f?sr: I
f JiTfr irr^ ii
For this short commentary see I.O. Catal. 852.
4557 .
3511. xrfriTRT I Paribhdsd,
By Padmandhha.
Substance, country-made paper. 17 x Scinches. Folia, 20. Lines, 8
on a page. Extent in slokas, 760. Character, Bengali. Date, Saka 1714
.\ppen ranee, discoloured. Complete.
Colophon : —
Tfa ’HJTfTri I
Post Colophon : —
[ 1714 ] irT%
^5intTf«ir% yi3T»i f ?refci: i
yfcjat ynfl
yi;jra! iCTf 'v t
asTT etc., etc.
For the beginning of the work see I.O. Catal. No. 890.
( 222 )
The work concludes with the following slokas, giving
an account of the author’s literary activity and his
genealogy ; —
infJir5!iT(?)>T?:>Ti5i»TT5if?Ha?nsrr'^m’srt^m?T i
^ iwfir? firtT ?T*qfflJTTf^S^5TJT II
f’lf’f ?iaRWT^f^^fnr«Tfl I
ii
■^fR> feujsrt
aaT ^9i!RTt'«n^r ii
Kfntn 3 T!tt=w '
tfriT B
ifnnw’cf9?f (?) JinT ^rxfrw i
II
vItt! ^w’tTi^’T 3r?r?r «
lErfiTiirearr w: i
'^SWliill'IWI W?B?WTw1’ J7% 3?% I
ci (?) ?r?T ^ ffsiwt ii
niTfw^WTT«r^^ ^rwa;: i
wriwt +i4ai.ni(ft?nf?= ii
JIffl’SKWajd’0 I
>;fTJTfrfhnT«R: n
TwrgvBfifeei^a w?i7TwmT«nfn:a!
or n
( 223 )
yj 'v
H(^ %<t*flt JpfV^mJT! II
S»
5|fT5iT5fS|pK«irT?;^: |
SJ
'i?l«iT»ftT nitcfftit^ II
Then the scribe^ s note : —
i|^(^)^ ?lf?I TT^JilTH ?7*r^'HT^ I Hfr
^?fiInRsv^g«TT T*I^*r afffirsrtv: W f?
■s:'*ff^?^: I cT^Tq
^^=5?: I
«g= ^ f »?i% I
4558.
2^ke same here called,
404, fri* I Paribhdsa-vrttih,
By Padmanahha Datia,
Substance, ceuritry-mado paper. 1.3jx2| inches. Folia, 33, first leaf
missincj. Linc.s, h on a page. Extent in slokas, 858. Character, Bengali.
Date, Saka 1641. Appearance, tolerable.
It ends thus : —
^^DJTTf^SficrH II
?ftrci faRJg ?r^WT4f^^T9CrW I
II
^ SSTW^JUKlf: I
(Rft f? ^TWTtvnr ^ II
^nrxftc^W’fftXT cr^TTT trTg'nftf^ i
xxfOTTVT aas (
( 224 )
iftrrwTrfta nw iraitsw
JTT^ ftf«rP^<n i
ir ^5r3fRTiTir!if«^T
*} f< tni > »rT^T i;f«rcH0Tcr^re(«: il
iftTT: ^ysrn^T J3r§f%
ufamaiT 'OT’RT* II
Colophon : —
Tftr qft>n^T«ffi: ^rJTTHT I
II ^r«in^! II \i^\
fff? I
4659 .
3785. The Same.
Substance, country-made paper. 15x2J inches. Folia, 41. Linos,
5, 6 on a page. Extent in Slokaa, 600. Character, Bengali. Date, Sake
1722. Appearance, fresh. Complete.
Colophon : —
Tfir iriTHDnrafflJ ^FTiTTHT I
Post Colophon : —
wrTn9F*r i
«i'?rTtp54f«3# in%
N»
’g^T i
Bm ^fimrwwtftrfif^TT nsjff^nT
tiftnagi 'ra’Tt?! ^-qrgg^kTW n
’srcwg I
This MS. does not contain the genealogy of Padma-
nabha, for which see our Catal. number 4557 and H.P.R.,
1. 223.
( 226 )
4560.
4614. The Same.
Substance, country-made paper. 15^ y imdios. 27. Lines,
b on a page. Character, Bengali. Dale, Saka 1608. Appearance, fresh.
Complete.
Colophon : —
Tf(T «TTTHT I
fTcil f? -rm^frafT^ n
alw TOgsRt TTfrHTifT aa: iT?:n II
jfl»iTginfi:a am «TfTiaiTai?:si«R?j; i
?«iTa5?[5iT^t^an n
afta TfVasaTa^^a: i
# 511?: II
.3365.
Prayoga-dipika.
By Padma-nabha Daita.
Substance, country-made paper. 14x2^ inches. Folia, 68. lanes,
6 on a page. Extent in slokas, 1,400. Character, Bengali. Date, Saka
1660. Appearance, discoloured. Complete. Written in two different
hands.
This work is mentioned as one of Padma-nabba’s
works in the previous number.
Colophon : —
ftTOif ^TTTiT I
( 226 )
Pod Colophon : —
I I » I <■
A unique work.
It begins : —
JTTH# *fm fiftraRt I
BaftirisiT n
^TTafflwt iffJTT?lT*rt |
fiat afsaiai =? n
i a^ aRuaRsgw^rjg faaKw
amt II fi'af, afi^, aRTUT HHT^TaJTfT^TaHfVfiTJlf %fa
fz aiiT?;fnfJ!T wafar i
3784 .
4562.
I Yuv-lvgaiU-vrthh.
By Fddrnu-iiahha Datta.
Substance, oountry-inade paper. 15 y 2^ inche.s. Folia, 10. Linos, 0
on a page. Extent in slokas, 240. Character, Lengali of the nineteenth
century. Appearance, old. The ink has sunk, (binplete.
(Jolophon : —
«f%: aniTTV II
Begiming : —
^nii* 5 f wTWjftmw ffcRi 1
fjT?ofW’gjin?f I ifTJnJT I *15 'srteft-
?nr ffi f ® fr w ftfif t^rt Tftf
SJ
^ jRfif 1 ^
*r JTffcl I
( 227 )
End : —
I Wifer^T:®! g^T-
'T^TCTaiJTVTfnWTWH I Tin ’5^^»?ialsrTfT I
Mentioned as one of Padma-nabha’s work.
Supra.
4563.
See
387. ^^Pr^nfSR^IT I Suban Id- pro kr iya .
By Padma-nabha.
Substance, country-made paper. 13x3 inches. Folia, 30. Lines, 5,
6 on a page. Extent in slokas, 500. Character, Bengali. Date, Saka
1673. Appearance, old.
This is a defective manuscript.
The first three leaves contain the conjugation of
Dhatus. Then leaves in a different hand, consecutively
marked from 11 to 36, contain the declensions of Sabdas,
bearing, in the last leaf, the colophon : —
Then again a leaf marked 36 containing a Kroda-
pattra.
Beginning
# I
End : —
I
Then follows the Kroda-pattra.
( 228 )
Post Colophon Statement : —
=*fiT5i^5^[ ^ ]»p:r% f ^ I
4564.
r>284. I Kalpa-lafilca.
By Vimv.
Substance, foolscap paper. 13ix4^ inches. Kolia, !0 to 2H nrul
58 to 123. Linos, 8 on a page. Character, Bengali of the nineteenth
century. Appearance, fre.sh. Incomplete in the beginning and in the
middle.
End -. —
II (?)
?n% (1511) I
fsrirwfsf ^sifT n
’aef) gw*iT 1
JTTi5® «HTn II
Colophon -. —
’EWTRT I
4565.
4045B. An anonymous commentary on the Supadma.
Substance, country-made paper. 15x3 inches Folia, 6. Lines, 6
on a page. Extent in alokas, 120 Character, Bengali. Appearance,
good. Date, Saka 1730.
Beginning : —
*nRt I
srg «rrMt?rpW’r M ?rsj
( 229 )
iiscfT^r! ^■«rjw^?r ii
TffT sff^ftr 1^ waf aisiTaw f i
^ g II ^ II »fg rffr f«R arw
End :—
q’^fisffTfm'gafr «r 1*1 ii?wm*iriai! i n
arffHsi:^rT]»gi farw^9iTtT ftff^Piiwfsrrtarra % g
fnivfjr^pf? Tjoif^ I BTfiftr fai^itiiT arai afti-
fsrvTan^« i
('olophon :—
5A, Tfff laiJTt ft*!! I
tfSf: I
Post (-'olophon : —
l^ftrfa I ViaiTSlT! \^>J^<>
« JTTl I
It. i.-^ called on tlio Ia))pl d’srrf^iJr; which
“ ?T^T ” is written in everyone of the leaves, on the left
hand upper margin.
4566.
r ♦
5577. I Vardhammia-samgrahah.
By Krsna Misra.
Substance, palm-leaf. 20xli inches. Folia, 2 to 114, of which the
following leaves are missing: 21, 22, 23, 24, 26, 76, 77, 78, 79, 80 and 81
Tunes, 6 on a page. Character, Udiya of the sixteenth century. Appear-
ance, old. Incomplete at both ends.
This is an abstract of Vardhamana’s Grammar,
( 230 )
Colophons : —
2 A, 2B, ; 3 A, tFs ua^ftT-
; 5B, Tfa ^fNirr?: ?wtk: ; lOA, rfa ^ciarr:
tfyv^’O.^x- ■, IIB, Tfa ^riari; ; 12B, rfa
sita^f^i^^IsaT: ; 19B, Tfa aj^aiaiT: tfw9i»^r: ; 20B, Tfa aj^axair!
; 34B, tfa airjarm ; 36B, Fm^ia
■iITif^%^I^^tf^R^^T ; 37A, »^Tf^af?Rin; 42B, Tfa
^usTr^aTaflit ; 43B, TaiT5i?}T% f^aif^fjii^T ; 44A,
^aiTf^iTa ; 45B, Tssirana ; 46B, o sRiif?-
49A, o TWJfT gfsRai; 51 A, = sfifiaT; 52A,
o %^fa(T ; 52B, o Tmar xifti'ar ; 55B, ? afu^ra aw-
VT^Rftiiai ; r)9A, o ; 63B, 5:fa a^fria-
fl^Tt^rmiasifw i
Post Colophon Statement : —
faRm ftrfeafii? i
66A, Tfa SiciRfRiRT; 82A, Tfa RiTi;% «|'f^ajT; 84A, xfa
ffa^RT RRi^JBiT; 86A, tfa RiT?;% "Rg-ff rriOI»t; 87B, o
R'gjft RRi^Jun; 89 A, o r:i^ rrskwh; 90 A, o ftRift rriChiw;
103A, ^fa ?r*TTa^TO asRaaRfifiRi ; 107B, Tf?i » R^^tfrsfRiRT ;
114A, Tfa ^eiRSirJTRtfacf'naTRf ai«TaRfR5RTRT RWTRTRK: a«TK: I
Post Colophon : —
I RTRTfRJTJT I
With this there is a copy Sruta-bodha of Kalidasa,
complete in two leaves.
4567 .
388B. I
Hari-nainamrta Vyakaranam.
By Jlva Gosvaml.
Substance, foolscap paper. 12^x4^ inches. Folia, 19 (the first three
leaves are extra). Lines, 7, 8 on a page. Extent in §lokae, 466 ' Charac-
ter, Bengali. Date, Saka 1744. Appearance, fresh. Complete.
( 231 )
For the work see L.G.R. No. 1136. But the MS.
described there is defective, wanting in the first three
opening verses and coming only up to the end of the
Akhyata-pada. Our MS. is complete.
This is the standard grammar of the Caitanya sect
at Vriidilvana written in the sixteenth century.
From a comparison with tlie next number, tliis will
appear as a shorter version.
1 1 begim Ihus : —
wsrrfjT ^ ersri (?) i
(?ri) wfTwrtT n ^ n
II ^ II
TT^filT ?:fu^t^5I^Sfn: I
^ft:«iTuwcT5lutT iiu'UT^irTTurfl n ^ ii
€|T^V® Sar^Tftrsr: ||
^TJT ?T 1
If 115’nJT II
srnri^wT^als^ ^^w^ \ i i
«R^3? I X t ^T«lt cTig I ^ ^ 3 ;
'TfirfwTlfbS: I I
4A, sfa
WTH! I
SA, 5:fci ?ft'?fOnJTT»i% lair^sqT^® SEWmM
llA, Tfa fessfT! xn?: i
12A, tfir fairw^fm® ^wnu n
13B, 0 x(<T?:®xn?: ^wm: 1
15A, « ®fn®xn?! xEwnr' 1
( 232 )
15B, o I
16A (the last colophon), o i
It ends thus : —
« < II
=? tfl^TJTT JrrT! II
The Post Colophon Statement : —
^ir fsrfeffl iTsit ^ir%. etc.
gpiriiK^ ^>S>9B I
4568.
8142. The Same.
Substance, country ‘made paper. 17x3J inches. Folia, 2 to 57, of
which foil. 28 to 54 are missing. Lines, 5 on a page. Character, Bengali
of the nineteenth century. Appearance, fresh.
The chapter on Akhyata only.
4569.
165. The Same,
The MS. has been noticed by Dr. Rajendralala Mittra
under No. 423. The MS. is complete in 37 leaves and
extends over 600 slokas.
This also is the shorter version.
The Post Colophon Statement : —
^ -m
^jfNrrftr^ ii
( 233 )
fr^Ttm^T(n)?;iv'!T (?) iftxrjftH i
aw! 3?!aif!aTftf^ faaiw^ ii
^aaii^*5^’^nr an: i
4570 .
8191. iniTW^Ps^*hl I Prahodha-candrika
By V ayjala-deva.
Substanre, couutry-niadr ])aper. 10|x4| inches. Folia, 25. Lines,
9 on a page. Extent in alokas, 500. Character, Nagara of the nineteenth
century. Appearance, fresh. Complete.
Vaijala-dova is well-known, under whose distinguished
patronage Desavali-vivrti, a Sanskrit gazetteer, was com-
piled.
He was a jagirdar at Patna in the first half of the
seventeenth century.
Prahodha-candrika is a good, elementary grammar,
intended for the author’s son Hira-dhara.
See Oxf. No. 370; L. 2558; W. No, 1635 and 1.0.
(yatal. No. 898.
According to the colophon of W. 1635, it is composed
by Visva-sarman.
4671 .
9865. The Same.
Substance, country-made paper. 9jx4j inches. Folia, 14 (12 to 25).
Lines, 9 on a page. Extent in Slokas, 266. Character, Nagara. Appear-
ance, fresh. Incomplete at the beginning.
Colophon : —
Tfir :«?1n’^ l»ra»iirw«(TT wmn i
30
( 234 )
4572.
6707. The Same.
Substance, country-made paper. 10^x4^ inches. Folia, 17. Lines,
12 on a page. Extent in glokas, 400. Character, modern Jaina Nagara.
Appearance, fresh. Complete.
An elementary grammar, in anii^tup slokas, for the
benefit of his son Hira-dhara, by Vijjala Bhupati, the
author, who is here called PatanadliinatJia He seems to
have been a Zaigardar of the Mogul emperors. It was
under his patronage that Desavali-vivrti, a work of the
nature of the “Imperial Gazetteer” was undertaken by
Jagamohana.
See Oxf. No. 370 ; L. 2558 and W. No. 1635.
4572A.
1664. The Same.
By VadjalarhJmpali.
Substance, country-made paper, 10x4 inches. Folia, 21. Lines, 9
on a page. Extent in Slokas, 460. Character, Nagara. Date, Samvat
1890. Appearance, fresh. Complete.
Last Colophon : —
Post Colophon : —
I Mci
1 1
For description see L. No. 2558.
About the end of the sixteenth century Vaijala be-
longing to Cauhana family of Rajputs held four ‘ Pargan-
nas’ in and about Patna with Patna for his principal
residence. He was a man of some culture. He employed
( 235 )
Pandita Jagamohana to prepare a topograghy of 1.8
different countries in Eastern India and Indo-Chinese
Peninsula, and Jagamohana wrote ‘ Desavali-vivrti ’ now
deposited in Sanskrit College Library (Calcutta). Frag-
ments of this big book have also been collected for the
Government collection in the Asiatic Society of Bengal.
Vaij ala’s death and cremations are described in the
Desavali.
The present grammar in verse was composed under
his orders by Visvasarman (see Colophon W. 1635) for
the benefit of his son Hiradhara; and as Vaijala was a
fervent worshiper of Rama the examples are taken from
the Ramayana alone.
4573.
8186.
By RaghM-ndtha Kavi’-hanihi-rava.
Substance, country-made paper. 8|x3| inches. Folia, 189 of which
the first 1-10 leaves and those marked 20, 49 to 61 missing. Lines, 8
on a page. Extent in slokas, 2,600. Character, Nagara of the eighteenth
century. Appearance, old and discoloured.
A grammar following the lead of Bhaftoji Dik^ita,
Ramasrama and Varada-raja, compiled during the reign
of Aurangzeb.
The author was a Cit-pavana brahmin. His father
was Sarasa and his grand-father Kesava. He wrote five
works, namely,
(1) Muhurtta-Mala.
(2) Raghu-natha-Campu.
(3) Ganga-stutih.
(4) Commentary on Madhyama-vartti.
(5) This work.
The works were written at Benares.
Raghu-ndtha -sopdnam.
( 236 )
End : —
* Tsr^?r <ga: i
ijcT^ r^sTT^rsT^ut Offi^feuT^fs ii
WTT^t^T i
nft>irwngjr»=f »f% ii
»r«ai «itffrf<i^WsraT ?OTJrt?:^OT i
flTsfffHwar^f^sr: w af^sftfsrai: «
?ri-irTst%t^'!T^jTftt! ii^=qTrT ii
vr^aPtHfftfgttrmr^JT^r^-cTar^^r^TJin: i
sTufff 3r^ri% aa'^wnrarf: ii
arTOfsafa qf^ff ■an'aag^ ’n faawiaRir% i
-f + +(j fra ftr^sai amgft ii
M
Colophon : —
Tfa ^wvmTTaran^ + aaiw’J^'aai^affa-
4
sRJ^vafatfafi a'aarawtaTa' «hth i gw^ ii
nI
In a later hand : —
<hrfr waf n
4574.
4111 .
Vaiyakarana-siddhanta-candrodayah,
By Harihara Ddsa, a brdhmana.
Substance, palm-leaf. 15 xU inches. Folia, 75. lines, 3 on a psgc.
Character, Udiya of the eighteenth century Appearance, soiled In-
complete at the end. Written with style.
Beginning : —
virron i
<*rfaTtJT^ II
araai»t»wTa*5 i
8
( 2»7 )
farTTf^T^r: i
»ra^ ^ % ftfffff ^rtw ii
3 A, Tf^ *i’s!riraff:>ir»T ; 6B. rfs ^ar^rfj^: ; 8A, ;
i(n>, ?-ffT f^»r)Tflf;ti; ; 17 B. rfa t^lfT ; 20A, Tffl ^CTsfrr:
; 22A, srpr^fT; ; 31A, ’^fwfx: ; 33A,
T^HTT ; 36A, Tfir ftrsT^-
n%- ^nrm: : 5JA, tfs w uf?ii??T: 70B, tfH
; 72B. rm ; 75A, Tfs i
The MS. breaks off abruptly.
4575.
3514. I Sabda-ratnakarah.
By KcmBvara.
Subslanco, country-made paper. 17x33 inches. Folia, 164. Linos,
6 on n page. Extent in Slokas, 3,000. Character, Bengali. Date, Saka
1610. Appearance, soiled and worn off. Complete. Written in three
different hands; leaves 1 io 5 by the first, 6 to 64 by the second the rest
by the third
Colophon : —
tfif «n*T
I
Post Colophon : —
?:»rn»n5fi'nFiw'^ + + + + + + ^
\i\o I
It begins thus: -
'TO ^fnfNR! «^1 n
1%iST TO TOreiFi I ^ ^infjlt tflTOWt
I «r w T t I
( 238 )
18A, mmwFi ;
20A, o ifnsrTu^wH ; 24B, o 30 A, o
^fTHTHfr; 52B, 0 ^riTTHiT; 60B, €jttbh;
74B, *» 93B, o lefir
106 A, tRt cTfgcryaR^rf ^THiT ;
140A, Tfir 5 ^t3rthT‘ ; 140B, xfe
fn?r ¥i32^?i?rT^ wimT^mxM ; 164 A, i
This is a unique grammatica] compilation. It follows
Mugdha-bodha in the arrangement of its contents, but
uses technical terms of Katantra,
It ends ; —
«rT3ir^: I! ii
The MS. also contains a fragment of a commentary
most likely by Bharata-mallika, on Bhatti (1 to 31)
(although the first leaf is marked 1, it is not the beginning
of the commentary. It contains the commentary on the
verse beginning with Oan to III); twenty
leaves 109 to 128 of Mugdha-bodha from the beginning of
ftR to the end; three leaves beginning with
; four stray leaves ; the first two leaves
of the commentary of Amarako^a, called Amara-panjika.
4576.
3523. I Druta-hodha-vyakaramm.
A grammar of the school of Mugdha-bodha,
By Bharata Sena.
Substance, country-made paper. 16 x3J inches. Folia, 86 by count-
ing. Lines, 5, 6 on a page. Character, Bengali of the eighteenth century.
Appearance, discoloured. Incomplete at the end. The MS. comes to an
end in the beginning of the Krt section.
See L.G.R. 20 and 1.0. Catal. No. 907.
( 239 )
It is a rapid sketch of the Mugdha-bodha. The
author lived at Jamga in the Hooghly District. I saw
his great-great-grandson. The author was a Vaidya by
caste and was a high Kiilin in his caste. His age is about
1750 A.D.
4577.
2803. The Same,
Substance, coiiiitry-mado paper. 13x3^ inches. Folia, 6. Lines, 6
on a page. Character, Bengali of the nineteenth century. Appearance,
discoloured. Fragment.
Beginning : —
4578.
3539. I Kdrakollasah.
By Bharat a Mallika.
Svibstance, country-made yellow paper. 18x3| inches. Folia, 4.
Lines, 9 on a page. Extent in slokas, 130. Character, Bengali. Date,
Saka 1760. Appearance, fresh. Complete.
Colophon : —
WTH! I
Post Colophon : —
srwT i
Msa-: ^ II
VI%TS^|: I
See L. 2412.
As for the date of the author there is the fact that his
great-great-grandson was living till recently.
( 240 )
4579.
5138. The Same.
Substance, country-mad© paper, \5x^ inches. Folia, 9 of which
2, 3 missing. Linos, 5 on a page. Chnracter, Hengali. Date, Saka 1744.
Appearance, discoloured and worn off.
Colophon : —
Post Colophon Sfateinenl : —
etc.
Kor the work see L. 2412.
930.
4580.
I Prayoga-ra im a • mala.
By Pvrvsottama BhaltacCirya.
For the manuscript see L. J819, and for the work see
LO. Oatal. No. 895, where it is stated to have been
composed in A.D. 1772. Printed with commentaries at
the Raj Press, (boch Behar.
In the third verse Rajendra-lala reads in
the place of I
Post Colophon Statement : —
II II
1[T% 1721 ^Tf^5RT:^
-s*
w fwfewrqatr h
^ ''
The Village Sukha-sagara has now been washed away
by the Hughly.
( 241 )
4581.
3974. I Vcikya-Oovindah.
By Rdmesvara Sena.
Substance, foolscap paper. 8|x4J inche.s. Folia, 43. Lines, 10 on
a page. Extent in slokas, 1,000. Character, Bengali in a very modern
hand. Appearance, fresh. Complete.
Colophon : —
Post Colophon : —
^ iETif I
For a description of the work see H.P.R. Vol. II, 184.
Where the author gives his genealogy and says he lived at
Kabjapada. He was a Vaidya by caste.
4582.
7,3271. I Suu-hodhdh.
By Kasi-ndtha.
Substance, country-made paper. 10x4J inches. Folia, 4 of which 2
is missing. Lines, 15 on a page. Character, modern rlaina Nagara.
Appearance, fresh. Incomplete.
Beginning : —
WT i
Colophon : —
tfir ^TflTK! I
There is one extra leaf in which
the Colophon runs : —
.31
GRAMMATTCAJ. TREATISES OF NO SCHOOL.
4583 .
390.S. I Sat-karaka-tippanl.
By M ann-dasa.
Subflianco, country-made paper. 12|x2J inches. Folia, 22. Lines,
4 on a page. Extent in Slokns, 260. Character, Bengali of the early nine-
teenth century. Apponrance, discoloured. Complete
Notes on the syntax.
It begin . ; —
'4e nirt I
fiinra ii
5CW I
filWT! ^ stintrl wmi: I
JETT pEn: f?^EfT! II
^nsranfraifii 1 1
t*rt iprtifl H II
fv^^rwifsT, ?if«i ^Ty^srmfe fiinmftntHTTr^ i
m liinfT ^fTcftyi- fjsm y^fa, farrf^ i
ira fa^ scat a'a an-
ftawta I T<*iT^ I
It ends : —
«rTaT^5ftraiy®fiTi*rfV%yjit?rsrT
Colophon : —
Tfa wg^Tafarfaa asEianiffamta ^namf ii
( 243 )
4583A.
7168 .
Substance, country-made paper. 0^x4| inches. Folia, 3. Lines,
18 on a page. Character, modern Nagara. Appearance, discoloured.
Notes on the Sanskrit syntax (Karaka).
4584.
4598 .
Substance, country-made paper. 18x3 inches. Folia, 2. Lines, 8
on a page. Character, Bengali of the nineteenth century. Appearance,
old and discoloured.
This contains Karikas relating to Krt, Karaka and
Samasa.
If begins thus : —
asm I
■5(5^ tftr l
irfjrraan^^nf li
irsirtft^T^ VT5»iT firww i
IB, Tftf «mHi II
a!rgiT»PU i
II
€Wr^Tsi I
fNwi^n fnrtmor ii
Then in 2A :—
ftRTinuTJii^sn’it »
( 244 )
There is no colophon in 2B, including the end of the
topics.
4585.
2398. I Samasa-cakram.
Substance, country-made paper. 8x6^ inches. Folia, 7. Lines, 10
on a page. Extent in Slokas, 80. Character. Nagara Date, Sarnvat
1743. -Appearance, discoloured. Complete
Colophon : —
seriTTtnnB i
Post Colophon : —
OT^(=) II
3si«% TWi’rm’SR ar>STfsr Wiscj ^ irm i
Beginning : —
?WWT: 1
girf ’sf Itut ii
?rTtm ^¥TSC^! I
?nrsr *9 f?'srT n
Jm: I
%in w- wJTT^rnit m'ui’q ^iwgfifw ii
It was written in Bengal in the 16th century by
Bhavananda Siddhant-vagisa.
See I.O. Catal. 918. There is another work of the
same name. See I.O. 919.
4586.
4748.
Subatance, palm-leaf, llxli inches. Folia, 2 to 162, of which the
following leaves are missing : 6, 8, 16, 17, 19, 33, 41, 42, 46 to 48, 66, 67,
78. 86. 128, 134, 137, 142. 143 and 146. T.inea, 5 on a page. Oharneter,
( 245 )
N«wari of tli(' sixt«^enth century. The leaves are marked witli letter
numerals. Appearance old and discoloured.
It is a work of the same nature ^s Madhava’s Dhatu-
vrtti.
It is an excellent treatise on the conjugation of verbs.
It quotes, for illustration, from standard works as of
Kalidasa, Bharavi and so on.
The I52nd leaf breaks oil abruptly, when dealing
with the Namdhatus.
There are six leaves put at beginning of the man-
uscript, which are without leaf marks, two of which belong
to the Bhvadi class, and one to the Adadi class.
4587.
10188. I AkhyCiki-caitdrika,
By Bhatta Malla.
Substance, country-made paper 9^x4 inches. Folia, 18. Lines,
10 on a page. Foil. I and 2 A arc written in Bengali of the seventeenth
century ; the rest m Nagara of the same century. J^ines, 10 on a page.
Fxtent in slokas, 720. Date, Sake 1579. Appearance, discoloured. Com-
plete.
Colophon : —
Post Colophon : —
H’EnSRi: 0
I
On the obverse of the first leaf there is a Bengali
charm for exorcising.
A short treatise on Sanskrit roots in verse, often
quoted and recast more than once.
( 246 )
ISec Seshagiri Sastri’s report for the year 1803-1894,
pp. 20-23 and pp. 178-182 for extracts.
This work may be referred to the thirteenth century
as it is quoted by Mallinatha.
See also the Descriptive Catalogue of the Sanskrit
Manuscripts in the Government Oriental Sanskrit MSS.
Library, Madras, Vol. Ill, pp. 1051 and 1062.
4588.
5583. I ^ I Kriya-nirghanluh.
The same as the above.
Su1)st,aiu;o, paltri-leaf. 14x li inches, b’olia, 01. lines, 2 on a page.
Extent in slokas, 700. Character, Udiya of the eighteenth century. Ap-
pearance, fresh. (Complete.
It gives the Sanskrit roots of one and the same
meaning.
Mangalacarana and the object of the work : —
^jrarnrar *in! i i
^T^T®i Hfirgn i
5i?rfircie^i ii
j ''
End : —
UfJT®Ti3TTffI!5et^T I
iT^WT>?(T!rnf^?in ii
?riRn«r I
( 247 )
Colophon : —
ftpTTf’TW! WmH! I
«jT^ HPrfiriiTcrjnT fs^ftr^xf^sinliJiiTJT i
iTT^ cTcr?rifaT5n^ xnghnn^ifjfrcw ii
%^T 3^5^ ’^Ttg^r I
TJ^M’R’S^TT^lSfr 5tTStT«ff?:T(l?^TI% II
Tfif liwni % ^Jlfi ?r3I#tfIT TTrigsiT I
Sesagiri says (see the previous number) that this is an
abridged recast of that number by Rama-oandra son of
Visva-natha.
4589.
10543. IRliT’^TrrTOfl I Prayu httikhyata-vianj an ,
Substance, country-mtide ptiper. 10x5 inches. Folia, 50. Lines, 9
on a page. Extent in slokas, 4H0. Character, Nagara. Date, Samvat
1827. Apf)earance, discoloured. Complete.
On the obverse of tiie first leaf : —
+ + ff
go ^ I
A practical guide to the conjugation of the Sanskrit
roots, based on Bhatta Malla’s Akhyata-candrika.
Sesa-giri says, soe above, that the author’s name
is Kavi-sarahga and that this work also is a recast.
Beginning : —
wf?T 3p*Tf>i I
9B, Tfir 5r^T^ar*TS[aif ^tib= ; 24A, » %t?B! ;
(last colophon) o ^rng; n
( 248 )
Post Colophon : —
^wnTJB^T ^tis<ncTJ>nr wt
T? II
jfiw $l<3«l»ll^ H1?5T, etc.
There are four lines more in a small hand, containing
stray verses.
4690 .
10805. The Same.
Substance, country-made paper. 14x3| int'lies. Kolia, 22, Lines,
() on a page. Extent in slokas, 242. Character, Bengali of the eighteenth
century. Appearance, old and discoloured. Complete.
Last Colophon : —
Tfir ^er^THT ii
4591 .
9659. I Dliaiu-pathah,
By Radha-krmm.
Substance, country-made paper. 14x01 inches. Kolia, 13. Lines,
18 on a page. Extent in slokas, 930. Character, Nagara. Appearance,
tolerable.
The first leaf is missing.
Colophon : —
I
I
4692 .
9164.
Substance, country-made paper. 12x6 inches. Folia, 16. Lines,
9 on a page. Extent in Slokas, 300. Character, Nagara. Appearance
tolerable. Complete.
( 249 )
This codex contains the grammatical roots and their
meanings. No name is given, neither that of the author
nor that of the work itself.
4593.
8003. I Knyii-kalapah,
By Jiua-deva of Bhavadara-gaccha,
Subwtance. country-made paper. 10x^5^ inches. Folia, 73. Linos,
14 on a page Extent in slokas, 5,400. Character, Jaina-Nagara. Date,
Sarnvat 1494=1438 A.D. Appearance, old and discoloured. Complete.
It relates to the conjugation of Sanskrit verbs.
Beginning : —
feT^imcJD’jf'^crr i
n gni n
i
41 A, mi
II
55A, «. TETTclcftS^K^SU^^ I
60B, o ^fT^T -arra^SH^ and so on.
(Last colophon) II
After the last colophon, there are six faded lines,
containing, however, not much information.
Post Colophon Statement
\8«.8 ^ waini'i ■ngwr
(Mewar) (Chitor)
?;Tm + -I- -p
?f<n%
ii
32
( 250 )
Copied at Ohitor in Mewar in the reign of Rana
Kumbha.
4594 .
7728. I Dhatii-rupdmll.
SubstaiUiO, foinitry-iandc papei-. 1 1 x 5| iaclien. Kolia, 81. Lines, 10
on a ])age. Character, iiiodorn Nagara Appearance, fresh. Incomplete
at the end.
A book of conjugation of the Sanskrit I'oots up to Dhu
of the Svadi class.
Beyiittiiwj : —
»i mqrvr i rr^cf! wbr, etc., etc.
4595 . •
:1513. I Umdi’Sfttirajn.
With Vrtii by RWma-candni V idyCi^bhusana.
Substance, country-made paper. 18.^x3J inches. Folia, 17. Jnnes,
7 on a page Extent in slokas, fiBO. Character, Bengali. Date, Saka
1605. Appearance, oldish. Complete.
The niahgalacarana and the object of the work; —
srsn
^nsTT*!! Hat Ha Hfanur nnitiH i
frm H^HTftH
5rr^Tf«[H(H^ 0i<T«r?’B’m’?i«ri^?BHH « (?) n
Tft Hfh HWit h4^ 1
W»HH I
Colophon : —
tfif HHTH! I
( 251 )
The date of the composition of the work ; —
(?)
mw- I
cffflT ii ^tasis^T: i
W*;® I ’^ftlcr: I ^fhctJT: I
At tlio end of the MS. there are written some Unadi
suttra.s in nine tines beginning with : ’er^mi’T^rreiim*^
I gsr stnir i and ending with : awhl-
I and the colophon : awtn® i
The date of copying the MS. : —
9^? I 99*t? I
fwfisafi?? 'S^n I
W*^T: I
ftsti: 9siir4% I
9tSR59T® 13WT: II
4596 .
4661.
Substance, coiintry-niade yellow-paper. 18^x4] inches, h’olia, 24.
Lines, 7 on a page. Extent in slokas, 460. Character, Bengali in a very
modern hand. Appearance, fresh. Complete.
Beginning : - -
IT® f vftsfn ^ « 'sjT jwfn’jnr! i
On conjugation.
4597 .
7790B.
Substance, country-made paper. 10^x4^ inches. Folia, 3 (marked 6
to 7). Lines, 6 on a page. Character, modern Nagara. Appearance,
fresh.
( 252 )
Those leaves are marked or and relate to
the causal forms of verbs. It begins in the middle of
a sentence and ends in the middle of a sentence.
4598.
7799. I Anit-karika,
With a commenlary in Iripatha form,
Sub.staiu!(), couiitrv'iiiado paper. 12x0 inches. Folia, 4. Character,
.laiim Nagara of the early nineteenth (;entury. Appearance, discoloured.
Complete.
He<iinning (?): —
S'?: efftf?: I
(Comm.) micfhrrg?:^^ etc., etc.
Colophon : —
The text complete in 11 karikas.
(Text) i
Post Colophon : —
Mq?sef
(Comm.) 'irfilHqiTffqfT «TrTHT I
There are 12 lines on the reverse of the last leaf,
containing stray verses.
4698A.
6736. The Same.
If ith a commentary.
Substance, country -made paper. 10x5 inches. Folia, 3. Lines, 14
on a page. Extent in slokas, 84. Character, Nagara. Date, Saipvat
1890. Appearance, frosh. Complete.
( 263 )
There are 11 Karikas, concerned with the roots,
not taking it in conjugation.
Colophon : —
■STirl^^^K^T I
Post Colophon : —
There are two lines more, containing the beginning of
a hymn in praise of Siva ( etc. )
Beginning :■ —
(Text) ^trnT^Ttn: i
^nsfrl vr^tflfa f s^jtTTfsRJTif? afir?: i
(Oomm.) ^r:nTft 'JiTjcfsre vr^fjr i a Ta i
Between the root and the conjngational suffixes an
i is often inserted, this is called it, by Panini.
4599.
9645. The Same.
With a cmrimeniary.
Substance, country-made paper. Ilx5| inches. Folia, 0 in tripathn
form. Character, Nagara. Appearance, fresh. Complete.
Beginning of the commentary : —
aw: I
% fWT: far arrT’fifsfas waffi
TWT^ i TWif? i
( 254 )
End of the. commentary :■ —
Tftr «rfnwfTft>RT
^ N#
^iffftT 55 ^ frmFT! I
4600,
9736. The Same.
W ith a commentary.
Substance, country-made paper. 10.|x4 inches. Folia, 7. Lines, 8
on a page. Extent in slokas, 80. Character, Nagara. Date, Samvat
19 LI. Appearance, tolerable Complete.
4601.
10506. I ^^obda-sadhana-samgrahah.
By Bhairava Misra,
Substance, country-made ])aper. I0x3j inches. Folia, 59, of these
the 117th has lost the right- half. Lines, 10 on a page. Extent in Slokas,
1,300. Character, Nagara. Date, Samvat 1595. Appearance, old and
discoloured. (Complete.
Last Colophon ; —
TfcT f4c-
fna ^fwni i
Post Colophon : —
5SWT^ II ?:w II ?nrH ii
A treatise of the school of Kalapa on declension.
Beginning : —
^niiuiiv nw: n
( 265 )
ftFgsrnf^sirrJT: ^Tfr^rsTW^ il
cmTfir <T?fr w^rr ^tfir^ir: n
4602.
10558.
S 71 ham la -ru^^ai^a ll .
By RaThcja-deva.
Substanre, coniitry-jnadti paper. 10 vf) iiielies. Folia, 13 to 22.
Linos, 11 on a page. Character, Nagara. Ap])enranoo, old, torn, dis-
coloured, etc. Date, Sam vat I860.
This belongs to the school of Panini.
Colophon. : —
TfcT wprm i
Pofil Colophon : —
?T^?r
ftrfisrci ^ etc.
Declensions of Sanskrit words.
4603.
7S08. The Baw.e.
Substance, country-made paper. 10^x6 indies. Folia, 34. l^ines, 8
on a page. Character, modern Jaina-Nagara. Appearance, fresh. Com-
plete.
A treatise on declensions of the iSarasvati school.
Beginning : —
iW: I
91^ I ft-sn i
Mi ?n( etc., etc.
It end.s with giving the suffixes of the feminine gender.
{ 256 )
4604.
9597. The Same.
Sul.slB.nco, coimtry-m.ulo papor. 0x6 inches. Folia. 12. Lmes, 11
on a page. Extent, in Slokas, 110. Character, Nagnra Date, Samvflt
1010 = SBka 177r). Appearance, tolerable. Printed in I’othi form
On declensions.
4605.
7787. The Same.
Substaiiee, eonnlry-maile paper. lOf X 4J inches. Folia, 38. Clmrac-
tor, Nagnra. Date, Sainvat 178.''. Appearance, discolonred. Complete.
On declensions in a tabular form according to the
Sarasvata scliool.
The date of copying
fbBja 1 : 111^93 II '"fTW-
TTBirrq ftwifirei i
’iprt II ’Svr II
4606.
8918. I Laghupasargn-dlpiku.
C\
With a commeMtary.
Substanco, coiuitry-inade paper. 13x5 inches. Bolia, 3. In in-
pfttha form. Character, modern Nagara, Appearance, fresh. Date,
Samvat 100!).
The text consists of 21 stanzas.
It begins thus : —
5 TfCT TiJn^ I
Gommentary begins : —
M Tsm^nrt i i \ '
>»
1 1 ^1^’ I ^ I
( 257 )
The Colophon : —
xfir WflTFrT i
C\
Post Colophon : —
Sfnsfri: I
4607.
9169.
Substance, country-made paper. 13x5j indies. Folia, 3. Lines, 11
on a page. Extent in slokas, 10. Character, Nagara. Appearance, toler-
able. Incomplete.
Tliis codex contains the meanings of the cadi class of
Avyayas. The MS. is incomplete and neither the name
of the author nor that of the work is found.
4608.
9911.
Substance, country-made paper. 12 < 0 mchos. Folia, 3. Lines, 10
on a page. Extent in slokas, 50. Character, Nagara. Appearance, old.
It gives the meanings of Nipata particles.
4608A."
6719. Avyayartliah,
Substance, country-made paper. 0x4.Mnches. Folium, one. Lines,
1(3 only. Character, modern Nagara. Appearance, fresh.
One leaf containing the meanings of indeclinables.
Beginning : —
Colophon : —
33
( 258 )
4609.
9476.
Substance, country -made paper. 10 x 4 inches. Folia, 5. Lines, 9 on
a page. Extent in 51okaa, 80. Character, Nagara. Appearance, tolerable
Complete.
Meanings of Avyayas.
4610.
11184.
Subulance, country-made paper. 12 x5J inches. Folia, 0. Lines 10,
on a page. Extent in slokas, 100. Character, modern Nagara. .Appear-
ance, fresh.
It gives the different rneaning.s of the Avyayas or the
indeclinables.
Beginning : —
i
I STrlfTfaiTW I ’STfi: I, etC,
Colophon : —
4611.
9655. ifNi I
Upasargartha-samgrahah with commentary.
By Krsnacarya.
Substance, country-made paper. 14x6 inches. Folia, 2. Lines, 13
on a page. Extent in slokas, 72. Character, Nagara. Appearance,
fresh.
This gives the different meanings of all the Upasargas,
in 19 verses by the author with perhaps his own com-
mentary on them.
( 269 )
Beginning of the Tile, a : —
I tj tir^:
^ I TaiTf? I
The verse 19 runs thus : —
^^^Rftnnfl^ww^5rTn>r^ i
®Hot^t4(^ffi) ficti: ^fNn ii
4612.
8308. I Caruccaram-caturl.
By Siva Sarma.
Substance, country-made paper. 7 x 4^ inches. Folia, 39. Lines, 10
to 13 on a page. Extent in sJokas, 800. Character, Nagara of the
eighteenth century. Appearance, decayed and repaired with the state-
ment on the obverse of the first leaf. I
Foil. 3-6 are missing.
Beginning : —
5W! I =«?! I
5Rfil5(^3r^T^^JZ?lf5T»kTfWJ|?JTg?;! I
ir^ ^ ''f i
wgax: ^ ii
’fTx:prar-ftwit^jn^ i
«Ta[fin(?)1^q igfiTi; ^nrai n ^ n
ftPrflffix ■m^TKar^Tgfl « 8 »
A work on grammar and composition, intended for
Kf^na and Mathuranatha, the author’s pupils.
( 260 )
8B,
iiefar
I
IIB, 0 ^=5=
13A, 0 !it?r5Rf5nt^?finf«#f^ ^T«i
15B, ssiain; if^ssifu 5jitPrf%f?Tr3[w?jflifm
18A, c i
«rer aRfe?-^ i
19A, Tftr SK^rrs^T!, asm «m nfeaBartjn: i
20 B, aj^T «HT?r?l aUTT^fT ; 22B, aiiar !«Tt^iIlB!iaTT I
25A. Tfs i
^Wail flaimiaf ^TfeJItTSjftr^^JTrft I
!j’frTf^[ ■ ] arm ’sTtaniTfai^^ n «
art gs?! sijt! i
atr?rTm4f?tfVf: 91#! arfs#''ffviftfiaT n ii
9’?’ia'aaitsar :
cT^cT: (1 9 H
C\ ^
firsrT<TfirgH=?l^ faiifn?T9% ^=1! (?) i
fstimrmrrara^ it 8 n
afitj fstaftsrsfHtfir aTTrf»i 9sft% ^TTtl^ I
«T !ftfa: rf^maf! afi! a^JTtT-rf^am® Ii 9, II
xi airJn^<[T# ^Hm! # i
sRaf ff xT^i (?) W ^tnr arf n %?it n i «
Wf’fT' ^arftr^raffw 1
aETTt ailTt #t^3 aftWff f?r I
■snft wr*# ■^tna# ff’fi # « •
*n^ t%55 ^ i
3WTfir ^ WTa#^tft«T ^ mRJ, ( « B
( 261 )
»i?r: i
■^r II t II
craif? '5^^'^' ^I’aign'^^ n^^9r5i?i’gnrfiT^ftT?T’ftg^% i
End : —
ciT%g[^fst»ifn?iaHTn!i»:HT4^ «
Colophon : —
tffi ’!ftJTg5Rf^=n?s=fswfj!iif5R?7g^g-f’Ji:^ffl;^Mf<@af^K-
f^crr^ '^T^WTW^Tgsgt «mT5it?[5g«5n?: '3®T«t
iTSi’a wfirH^tHstg i
4613.
4718 .
Alchyata-ralna-komh.
Substance, palm-leaf. 12x2 inches. Folia, 76. Lines, 7 on a page.
Ctiaracter, Newari. Appearance, discoloured. Incomplete in the end.
aK»M5(m I 4*“ «)*Tt ^Tjft’gKTsr i
?rflifgTifgig^?;finjlfiiijj| =?T3i«rt f^rif^r^i
^ stsrrflRT^jjM; i
?r^i + + 4- +
BiifaiRgcft gj^tfiT II
eft JTJ(: 1
95TlWt5%eR?i;^sit Tt5ii:W -^Tg^Tg |l
■^iggTti^ «»i|f ^i^Tifont i
?(ftt| stn^rnsneiT ^WtJTW II
mgSTCT! 5ITO ^ ft'«rt'?I^ II I
( '«Ri ^fjgci )
( 262 )
4614.
10426. I
V aiyahimna-mhda- ra tna-mala .
By Soma-yajl.
Substance, country-made paper. 9^ x 4 inches. Folia, 27, of which
the first three are missing. Lines, 8 on a page. Extent in Slokas, 460.
Character, Nagara. Date, Samvat 1836. Appearance, discoloured.
An elementary Sanskrit grammar.
End : —
TngjT® ii
Colophon : —
^W[T{T I
After six lines after the colophon we have the
date : —
4615.
8208. I Samskrta-mdla,
Substance, country-made paper. Il|x6 inches. Folia, 105. Lines,
6 on a page. Extent in Slokas, 1,400, Character, modern Nagara. Ap'
pearance, fresh. Date, Samvat 1926.
A collection with their explanation of Sanskrit sen-
tences and slokas, and stories from the Puranas as recited
and explained in the school of Veda-garbha, intended
for learners of Sanskrit.
{ 263 )
Beginning : —
I
JTTWT siMTilt I
II \ II
>J
'?n’i «5giawtfjn II
^^inrifTOT TT^Jn sEfT^rf >9 %^%^TSfr-
^raf^i ^iTwint iTRf’gfT ?r iTTS^rrat
®(*r 3r^5T ^TT^^mwTq^cT 1 fii§:
triPr mPr afr^Jj aiqi ?iTf«T ^tPt w^fT^T®raTf*t
tTXfsf =? JT^ XXT!^iT!?Trr^ 'st^sgm 1 ^fx: I
$>5^ ?r^tXT oTinfl' 1
wwwf fsiinsn^f^’nftr^l' 11
I
xn;nix;Tg;5TcT ¥^-
xns^rraTTnira ttxi^
^ I f 4 <ll 4 t XfWWT’XJ 1 iTT'^®>f- I ft^TinT(:) isf?!-
'B^c{ Wt?TiT?ft 5 f>Er I f=Rn 4 f xrfix^^fir w l
gsTWeft^ ^ fwv: I ^ JT^T^TcT^ I
l*r! fr f^fraJT'snJicftsfir 1 ?r ar^g-
*Tx^nrtft 5 % n
16A, Tf^ ?r^t<wraT[xiT] ?i^ftt^jn *tm pw xtfxR^n 11
«i«r xRTrfxff^xnr: fncx?: fir^x^-
qxawxsxT^ix: iT3T^(*rTfx:9xg wx^i^T ?rf*fr 1
writ’s ?nx I «i?a! nt ^
fsRTS JiTX^^ 5irxra I 3x^«r 1 Tftx ^isi
s»
( 264 )
f4irrf<i i
^TTJTqftgaT^ %^ir»n'^t^: '^rni f’9=finTr> jjjar
Hn«i srriiT sijg f^=5rT?^ ^?jr
f*if^ff5iTiT ^1'^ I ??«( '5^
% % n3T! IIT=f\=tT: ^ffsff % ^ m^TTO-
fsif^en: «!(gilT cJTfWSft W3Tsit I
cTi^f^ H’Ttf*! =9 TfJ? jzt I ^^^Tftr*ir
Tf3T 1 ■ysi ftstT % Hftiafsfl
aRcTtS^ fl^T fsif^a^an a Jif
wii ’g'l ?:nfri5fi»: JiTiitss) ^’?^T ?Tai»::
?rf5fi etc.
40B, Tfa siw ttfsuvi (
f!
75 A, tfa «^3irraraT! i?;i«Ti!ii^ siw s^t ; 88 A, o
WSf^refTf^^tflTJTflM nw ■^g'ff 5f«’!JT (last colophon) xfcT W^fT-
J{T?tIiri: Bfss^ I
Post Colophon : —
W% »jjtf I
iflW »J?ra f5[ao% II
iw ^i^TTtrr’p^^T n
4616.
8507. I Saniskrta-manjarl.
By Anania.
Substance, country-made paper. 11x6 inohos. Folia, 7. Lines, 8
on a page. Extent in Slokas, 168. Character, modern Nagara. Appear-
ance, fresh. Complete.
A Sanskrit primer.
( 265 )
Colophon : —
TftT «^inf 1
Beginning ; —
1 w! i i
3RW^TlTc(Tt I 5RT f^JTSTiR^’?^ I f cT aiTTOT: I
^^n^RctT:, etc., etc.
End : —
>3iTaT f^nfgcrr i
4617.
1678. The Same.
By Raghu-niilhu.
Substance, country»made paper. 10x4|; inches. Folia, 5. Linos, 10
on a page. Extent in slokas, 112. (/haracter, Nagara. Appearance, fresh.
Complete.
Mangaldcarana ; —
^=gni« I
Object of the work : —
?:'^5tT%sr ii
■j
The work begins thus : —
firm <irT*iT^ iT*5f% Jifi JWT %H JTci foia
^ fsf^rag^it
It ends : —
w'§TT%T «f5af ^ ftwiffii 1
st^fM ’rm w^enrt^ i
34
( 266 )
Colophon
After this colophon in leaf 5A there are 16 lines which
contain the Puja and Kavaca of the planet Mangala.
This is a short treatise of hints on grammatical study
by Raghu-natha.
4618.
9366. I A pa-sahda- kharjdanam.
By Bhaiia Dhanewara.
Substance, country-made paper. 9^x4 inches, Folia, 35. Lines,
8 on a page. Extent in slokas, 660. Gliaracter, Nagara. Date, Samvat
1680. Appearance, tolerable. Complete.
It begins thus
^ w w i ii
II ^ H
^ ^T^cf
ct# nrr: ii ^ ii
air
»nn tw Mi«!?<r «(»T' « » ii
TWJf'
TTtfw5iw*;®%nfT‘ ii ^ ii
ailfjl f? f5r«i«T ^?®qTttT(?:)f'silf®?[T:
^T% II < II
%st
nw^i;3Tf4»rt >w: « « li
( 267 )
End \ —
^ «#fr-
^n^TcT fr^aci ?r
€ 5IT + + s^ifH-EfNm I
?rt% irai^ift ara^RT: a i irarfif^ ^faawT^
srrfgg crgTvngra i
'Jis^ giifg gif<si % gfa ^lyfaari axa gfa gr^xRT
ra I a^sn^ti vrfxnt: i
=^x: rfa H35if>TVH ^%fliTmnt Ji4x:Ti!it as?BOfxreia i
ikws^ faa: i i xx’nfg ^55n"?rrt
sa I ?rar I ’at?: xtara aai 'g»i ^>r?rfa i gif^mTarT^ «rirg grg-
warr®: i aw xrnrita^ aaatfaatfawTcT j:m asftvwifj ayaa^ l %
Tw ayfaare aa araar aa aa^aTfagw af aitaaia i
aiaat aifaft a a aa'^afaaia^
aarf: aatTaamaif^ aaataa^aaiT! n ^ ii
aaftiaaafa a^: aaia%5wigTafti:sBa i
aaaaaar^wajxa a fafwga: ii 8 n
awt^ aar^ara aafaf'fa-aiaifgistaaTar aaif^a^aai WTwaar-
fafa fas aTa?r«aaxaT%fa i
Colophon : —
Tfa af v^w^aiaaaiaaxusa i
Post Colophon : —
a^aiasaiiTaii aa; i
aa^ a^aat ataftfaaJi wra^ agax% faa ffaara^: xja-
a?[Twaa araanrf^aai afaraaai wtaxifflfafaaaaskaai iisj=
axasptiBTaT fafiaa: i
Wfsaaaax'sf aKSfarfar aat: «
« ga aag ii
( 268 )
It is a curious work, according to which there is no
such thing as ungrammatical language ; and if there is
any use for grammar it is only for religious purposes,
grammar being one of the Vedangas and helping one to
understand the Vaidika rules for the performance of sacri-
fices.
4619.
9507.
V yakarana- Ichandanam.
Substance, country-made paper. x 4^ inches. Folia, 3. Lines, 10
on a page. Extent in slokaa, 50. Character, Nagara. Ayjpoarance, toler-
able. Complete,
Colophon : —
It begins thus : —
rrrnfWJir ii
»TT^W:s^TgiRT?T^-
stTJT i i
4620.
9465. I
Punyagrdma-sabha-phakkikottaram,
By Harila ^armd.
Substance, country-made paper. 10 x 4 inches. Folia, 9. Lines, 7 on
a page. Extent in Slokas, 119. Character, Nagara. Appearance, fresh.
It contains an answer to a grammatical question
raised in an assembly of Panditas, held at Puijyagrama or
Poona.
{ 269 )
See for another copy Catal. No. 4300 where it is called
Purva-pak^avalL
4621.
1920. I Sraddha-vibhaktih.
Substance, country-made paper. 9^ x 4 inches. Folia, 4. Lines, 10
on a page. Extent in slokas, 60. Character, Nagara of the eighteenth
century.
Beginning : —
’I*!’* I
I anr i
a'^TT 1
’jjfN’i ii
For the manuscript and the work see L. 4262.
4621A.
11161.
It contains sixteen stray loaves marks 2-5, 9, 10, 18,
19, 20, 21, 22, 27, 3.3, 34, 35, and 44 of some grammar.
Quotes W3 in 3, 19, 20 and in 18 and 20 leaves.
496.
• 4622.
Paraslka-prakMah .
By Vihari Krsna Dasa.
For this MS. see L. 1321. The last leaf is wanting,
of which facsimile is to be found facing the notice in L.
Vol. Ill, p. 329. It seems not to have been replaced after
taking the facsimile.
The work was written under the order of the Emperor
Akbar whom Vihari compares to Brahma. To humour
Akbar the author begins with an obeisance to the Sun
God, the object of worship in Akbar’s Ilahi religion.
( 270 )
4622 A.
8287. The Same.
Being a Persian grammar in Sanskrity compiled after the
manner of Sanskrit grammar {Mugdha-hodha) undei
orders of Akbar,
By Vihari Krsmi Dasa,
Substance, country-made paper. 10x5 mclios. Folia, 24. Lines, 11
on a page. Extent in slokas, 900. Character, Nagara, Date, Samvat
1792. Appearance, discoloured and old. Complete.
Last Colophon
Post Colophon : —
I I sEnqwfs;? vsi- jjir-
fttscffTt ^t^sTJTx: i^nTiWT'i
ftpf I
In a much later hand : —
Ho I
Beginning : —
'i
Hra I sg^ ^TUTT' I
H ®fi«WrW
unfa ffHcj HHiirfH Tram
mxH:? HHnrffHHrat n
Other colophons : —
( 271 )
I
6B, o ^tasnrr n wm
aRTt^m^nr I
7B, o ^KSRSRiTlli — I
8B, 6 ^ aftfciu^nOT i
9B, ® c?1^<T?RiCni ^WTH — wr«r auT^^nei^ifiii^r i
22B, ® 1%TTd®^5rT«ftT^ffi% ^<i3?m’IPCJd flWH I
— r«i«^L(4ci I
The Golophon of the last chapter on Krt has been
quoted first of all.
End :■—
inut(fiT)fTiuiU'!ff afi4n!ST»T^ ^rfir i
iTft I «JTwir?i% iftK^ ^fpnJTift?: ftfh twfrl ...
TOff ^«n^JT afrap?l’»T! I
4622B,
9005. tnT[^Ni5Wn?* I Parasika-prakaSah.
By Vedanga Raya.
Substance, country popor. 8x3 inches. Folia, 10 of which leaf 2
missing. Lines, 12 on a page. Extent in Slokas, 260. Character, NSgara.
Old. Incomplete.
Incomplete. Eight leaves only.
A well-known work.
4622C.
8328. I Parasi-prakasah.
With a commentary.
By Vedanga Raya.
Substance, oountry-ma4e paper, lljxei inches. Folia,' 11. Lines,
16 on a page. Extent in Slokas, 300. Character, Nftgara of the seven-
teenth century. Appearance, old and discoloured. Complete.
( 272 )
Colophon : —
Tftr i
The text is well known. It is something like a dic-
tionary of Astronomical and Astrological terms in Persian
and Sanskrit.
The commentary begins : —
II
imim I
^ II
4622D.
8230. The Same.
By Vedanga Raya.
Substance, country-made paper. 7x3J inches. Folia, 26. Lines, 8
on a page. Extent in slokas, 400. Character, modern Nagara, Appear-
ance, fresh. Complete.
Colophon : —
^rJTTrfN n
«*Tm! I
Post Colophon : —
n fr Ttm
^ s
aritc Tw Jiiir qsn ^
%f JT?;9iT ff i
Sanskrit s^nionyms of Persian astronomical and astro-
logical terms.
4622E.
8229. i Parasl-prakasa-vinodah .
By Braja-bhusana,
Substance, country-made paper. 12x4^ inches. Folia, 14. Lines,
13 on a page. Extent in Slokas, 500. Character, Nagara. Date, Saipvat
1880. Appearance, fresh. Complete.
( 273 )
The work appears to be almost the same as Parasl-
prakasa by Vedanga Raya, composed in 1643 A.D. (see
L. 162 and 1.0. Lib. No. 2114 and 2897) with more ela-
borate mathematical calculations.
The text agrees up to the sloka ; —
313% I
After this Vedilfiga Raya’s work has much, while this
has only the following : —
J33f3tirag'?Ti;: ^Tf); I
3^ 5%3 wN «n3rtfT3 i
jft3’?T1?J3f3?nf3f33f3 I
3f43T ii
ncT
cT% srrspiwNiirr^T n ^ ii
3ne^ft3>33mm3 iraj: m'- gw: i
33Tg 3r^f3fl II ^ II
3»nj^jR I
«?)•>! fjT% -3 3IT3^ I
3WTHfr^ »rf5r«rr«5ffrg ^ ii a ii
Colophon : —
-1 ^ ^ ^rsj
3WTH: ii
Post Colophon : —
\^o «IT. ^ w» 1
It begins with the introductory slokas of Vedafiga,
36
PRAKRTA GRAMMARS.
4623.
4788. P(T35?TJf®RT^‘ I Pralcria-praMmh.
By Vararuci.
Substance, palm-leaf. 11x2^ inches. Folia, 5. Lines, 7 on a page.
Extent in slokas, 100. Character, Newari of the seventeenth century.
Appearance, old, discoloured. In some places the writing has faded away.
Only stittras. The work is complete in 12 cliapters
but this MS. has the first 8 chapters only.
Beginning : —
4624.
7765. I Prakrta-prakasa-vrttih,
By Bhamah.
Substance, country-made paper. 7^x4^ inches. Folia, 16-48. Lines,
10 on a page. Character, Nagara of the eighteenth century. Appearance,
discoloured. Incomplete both ends.
The well-known grammar of the Prakrta dialects.
Edited by Prof. Cowell (1854).
4625.
9573. The Same.
Substance, country-made paper. 13x4^ inches. Folia, 4. Lines, 10
on a page. Extent in §]okas, 90. Character, N§gara. Appearance, toler-
able.
( 276 )
This is a fragment of the Vrtti-commentary on
Vararuci’s Prakrta-prakasa, entitled or
I
See Oxf. 178B, 179; I.O. Catal. 939.
4777.
Prakrta-safijivaji t .
(A cowmentary on Prdkrta-prakcmi.)
By ]^asa77lamja, $
Substiuice, palm-loaf. 11 x 2] inohos. Folia. 103, of which the follow-
ing leaves are missing: 4, H, 11, 14, 20, 21, 23, 30-90. Lines, 8 on a
page. Fxtent in slokas, 3,300. Character, NewJiri of tho seventeenth
century. Appearance, soiled and worm-eaten.
Beqiimiwj : —
^ ilH: I
STJT^Tffl cIT II
+ + + -(-+
aaijRl
+ + + +11
^ 5CT5nn(jr)?i T3^rfw^T5g^5i^
STTfit ^Q’ErTa%5 + + ' +
+ + + + ^?r5ft*:T3i>5gsT«ti^ II
+ + + +«> ^ I
iffit f^’srrgf^'TTJmf^v^s^firtr ii
( 276 )
(?) f^fv! «irK«i7) i + + + +
w ^ 1 wt^cTf«r»j?f^ ^iTfn fT^^^arftrascT
I I
Colophon : —
tfcf w’frcTSfjrfntn^ TiTS\3«#^!iii ^ fjfina-
MsrT:^! ?WTH: II
This is a commentary on Vararuci’s Prakrta-prakasa,
by Vasanta-raja the son of Vijaya-raja. It is in 8 chap-
ters and treats of Mlfcharastrl only.
4627 .
343 A. I A udaryya-cinta-manih .
Being a Prakria grajnmar, by Srnta Sdgara^ a Jaina
author y disciple of Vidyanandl.
Substance, country-made paper. 10x6 inches. Folia, 177. Lines, 7
on a page. Extent in slokas, 2,300. Character, Nagara. Appearance,
fresh.
Beginning : —
II
II \ II
^ II cTcI
frnsfViw ^ Wf ^ ^ $ ^15 IT ^ :
The work is based on Akalamka-deva’s work.
176B (concluding verse) :—
It consists of five chapters.
{ 277 )
Colophons : —
46A,
-fHfsi:^-
^RrraHcrrcsprrt^
srw n’BjTftv'wnr: ;
94B, o stm ; 132B, e
stw g^^S>JTT?T: ?wm: ; 149A, 6 ’nw-
^WTR! ; (last colophon), » ■srwt^ingHT’Et'fl ’iw
q-n^rtswr^f ^rjmr: ii
343B.
Substance, etc., the same as above. Folia, 53 . Incomplete at the end
and leaving lacunae in foil. 49 , 51 with note on leaf 49 TW ^ns ir?T,
on 51 XR ^Ifi. Scribe’s note on the last leaf : ^ *nf% I
Another work by Sruta Sagara.
The mangalacarana and the object of the work : —
5 im I
cTrCT# ^ 11
sn^fr^t 'n ipq^
u®’?! ?% i (?)
8A, Tfs ^RTTTt»t I
15 A, Tftf TTTir'^lmiintwR;®} ’Ewni i ^
^Tagrrfir I ATiraWr^T
wH-nwitt^rcT i
finai^''5JW\a!JM'KHSlf9l%’85f I
II
21 A, rfir ^T^lWi^T WHT u
f%:5 w finr^WKWTtt i
r<< q n'<H>N T <l *tr IR Tf + WT 9 WT II t II
s» ^
It ends abruptly in the 124th siittra.
( 278 )
The four prakrts here an Sauraseni, Magadhi, Paisaci
and Apabhramsa.
4628.
4090. I Pralcria-sarvasvam.
By Markandeya Kavlndra.
W ith a commmlary.
Substance, palm-loaf. 19x1 inches. Folia, 21, Lines, 4 to 6 on a
page Extent in slokae, 400. Character, Udiya of the early eighteenth
century. Appearance, oldish. Complete. Written with style.
Aphorisms relating to the Mahara^tri Prakrta, in eight
padas. The accompanying commentary is anonymous.
Beginning : —
5(1?: I
1 1, I i ^ i i ^ i
B 8 B
2'Ae commentary begins : —
'The text ends : —
sffTKci ^fsfert i
Colophon : —
Tfcl il T BSdgiij^
HTTWgtrwnJTW: I ^STJTTHTiy JTTRTft^fiir I
The leaves are also marked on the left hand side
from 100 to 120. Evidently these form only a part of a
large MS. which contained aphorisms relating to other
Prakpta languages. ,
( 279 )
This work has been published in full. It contains
suttras for fill prakrt dialects. The present codex con-
tains the grammar of the Mahara?tri only.
4628A.
7156.
Substance, country-made paper, 10^x5 inches. Folia, 3. Lines, 10
on a page. Character, modern Nagara Appearance, fresh.
A mere fragment of Prakrta portion of Hema-candra’s
grammar.
Beginning : —
m sETTJT^ ^rrg\er
^ etc.,
etc.
KOSA OR LEXICON GENERAL.
4629.
1401. I Linga-vrttih.
By Vara-rmi.
Substance, country-made paper. 7^x4 inches. Folia, 31. Lines, 9
on a page. Extent in ilokas, 400. Character, Nagara. Date, Samvat
1723. Appearance, old. Remarkably correct. Complete.
Leaves 2 and 3 seem to be restorations from a man-
uscript of the vrtti alone. Leaf 3B is not wholly written.
The work contains a number of suttras with their
vrtti commentary. The whole is attributed to Vara-ruci,
but the suttras seem to be older.
Rajendralala notices a manuscript of the work in
L. 1993, which is wanting in the introductory verse which
runs thus : —
ri utWT’q- II
1. I
iftr I
7B. I
lOB. »s(wf«w?:>D5KJirTf*f i
18A. «ifi(a^gf^crT i
Post Colophon Statement : —
lirra ^ ® «nf^-
^JWT n ^wr^i «
( 281 )
«“b«a„co, / ^^^^<^Grahesvara.
Ama ifio “*«'‘es. i'olia, 13 r-
^PP«amnca, „,d a„d /Character. Maithila. Date L T“’ * “
_ "«“■ Complete. S<«pvat 228.
**^Qinni%g ;
V' I
»’?T6nrnrar;nw^ ^
HTT TtnS
m >wnaaw «
36
( 282 )
Colophon ■ —
Tfir ^^^sr^fTTfitT funTTftrfH i
Post Colophon : —
TiTsri i
«I^Tf¥^lftT5rT ^ W% IStT li
+ + + flfTftr I
?rtfr?Tt^5ftr% «
f«ir?Tfa«S5nm5i i
-^TJi iigqfagTT «
# sud U'5TV?;i^ ^fififlTSfJTcJ%«t^ I
VT^iT^Sl^T^^ fftW^Tsr f^Hn% II
W + + ?r4«(rT: i
The MS. was copied in L. Samvat 228 = A.D. 1343 in
the reign of Vira Simha.
4631.
5110. I Nama-lihgam.
Substance, palm-leaf. 13x2 inches. Folia, 13. Lines, 6 on a page.
Character, Maithila. Appearance, old and discoloured.
The raangalacarana and the object.
Beginning : —
f^’ntruiT^ ’HT! I
ftnrsw ^ %TRt II
’iwftrj II
4B, Tfn ; 6B, tI^i tiTcn?raw! ; 6A, ^fti simfwf
; 6B, Tfii t’snw! ; 7B, xfs ; 8B, Tftf ;
( 283 )
9B, TfcT frgsnw ; lOB, rfat ; IIB, Tf<T ; 12B,
; 13A, Tftf 395 ^: ; 13B, Tftr 1
The manuscript comes abruptly to an end.
The buffer-leaf at the end gives tlie following date in
a later hand : —
ww a-lt -I- ?ir3% ssfcT® -f -f
-|- + irffimraiOTTraTn, etc., etc.
4632.
7730. I Amurukosah.
A.
Substance, country-made paper. 11x5 inches. Folia, 49. Lines, 17
on a page. Character, Jaina Nagara. Date, Samvat 1839. Appearance,
fresh. Complete.
Colophon : —
srinfisifTgwTfl^ i
fltir ^rirf^cT: li
Post Colophon : —
aref ^ 8 sff^fifiDT
I ii i .
II irTn:T3rTfif?;m-JTTn:mT9ft-^^ftsra-
f^sr^noOT i
B.
Substance, country -made paper, white and yellow. llx4J inches.
Folia, 99, of which the first five are missing. Linos, 8 on a page. Charac-
ter, modern Nagara. Appearance, fresh.
To the end of the Bhumi-kanda (from the syno-
nyms of Sanatkumara).
( 284 )
Colophon : —
iiTHftriTTprm^ fsfaVt
^ II ^ II
C.
Substance, country-made paper. 10 J x 4£ inches. Folia, 11. Lines,
12 on a pa^e. Character, modern Nagara. Appearance, fresh. A frag-
ment.
Colophon : —
TfeT ® I
D.
Substance, country-made paper. 10Jx5 inches. Folia, 26. Lines,
11 on a page. Character, Jaina Nagara. Date, Samvat 1898. Appear-
ance, fresh.
The last section only.
Colophon : —
tRt 1 I
Post Colophon : —
1
E.
Substance, country-made paper. lOJx 6 inches. Folia, 12-37. Lines,
12 on a page. Character, modern NSgara. Appearance, fresh.
From the beginning of Bhumi-varga to the end of
Sudra-varga.
F.
Substance, country-made paper. 10 x 6 inches. Folia, 1-34. Lines,
12 on a page. Character, NSgara. Date, Saipvat 1899. Appearance,
fresh.
From the beginning of Bhumi-varga to the end of the
(Sudra-varga) the second kanda.
( 286 )
Colophon : —
Post Colophon : —
?n% 4- +
WTT% liw jpprr^ fw®
5(JT^: I ’sw »j?nw i
G.
Substance, country-made paper. 9^ x 4^ inches. Folia, 49. Lines, 9
on a page. Character, modern Jaina Nagara. Appearance, fresh.
From the beginning to the Simhadi-varga.
H.
Substance, country-made paper. 9^ x 4| inches. Folia, 2-44. Lines,
10 on a page. Character, Jaina Nagara of the eighteenth century. Ap-
pearance, discoloured.
From the synonyms of agni in Svarga-varga to those
of ang^di in Manu§ya-varga.
I.
Substance, country-made paper. 10|x 5 inches. Folia, 44. Lines, 8
on a page. Character, Jaina Nagara. Date, Samvat 1897. Appearance,
fresh.
The last section only.
Colophon : —
Post Colophon : —
^ i
^ (the name is
blurred over with ink) i ,
etc., etc.
( 286 )
J.
Substance, country-made paper. 10x4^ inches. Folia, 17-46. Lines,
IF'On a page. Character, Jaina Nagara of the eighteenth century. Ap-
pearance, "^^discoloured.
The second kanda only.
K.
Substance, country-made paper. Ilx5| inches. Folia, 4-58. Cha-
racter, Nagara, of the eighteenth (*entury. Appearance, discoloured
The Svarga-varga (defective in the beginning) with
a commentary in Tri])atha form.
There are two stray leaves put at the end of the
number.
4633.
7733. The Same.
Substance, country-made paper. 14x7 inches. Folia. 34. Lines, 7
on a page. Character, modern Nagara, Date, Samvat 1916. Appear-
ance, fresh. Complete. Written in a bold hand. With interlinoal notes.
Last Colophon : —
Post Colophon : —
JTira II
^iJUt II 5rrq?:Tjr^ ii
’llirei II \o II «<■ II
4634.
3822. The Same.
Substance, palm-leaf. 11^x2 inches. Folia, 102. Lines, 4 on a page.
Character, Newari. Date, the 14th year of Govinda Pala's reign, that is,
1176 A.D. Appearance, soiled. There are leaves which have lost their
marks. One leaf between 14 to 27, one between 30 to 46 and the leaf
marked 73 are missing. The last is marked 106,
( 287 )
Incomplete. To the end of Linga-samgraha-varga : —
ftff I
Post Colophon : —
\8 ^’sr Itfl ?r5^^fITftTf<T I
.See p. 250, J.A.S.B., 1893.
4635 .
8066. The Same.
Seven old palm leaves of which four belong to
Amarakosa, one to Panca-tantra and one with one line
and a half, ending abruptly with the first three letters of
a line and with the date, given in a later Newari hand :
4636 .
409. The Same.
Substance, country-made yellow paper. 16x3 inches. Complete in
118 leaves, of which two loaves 88 and 117 are missing. Lines, 4, 6
on a page. Character, Bengali. Appearance, fresh. With notes.
4637 .
8427. The Same.
Substance, country -made paper. 10 x 6 inches. Folia, 6. Lines, 20
on a page. Character, modern Nagara. Appearance, fresh.
With an index in two leaves. The leaves are marked
with the letters : i
It appears to contain such portions of the Vanau-
^adhi-varga of Amarakosa as are of medical importance.
( 288 )
4638.
8739. The Same.
Substance, country paper. 13Jx6 inches. Folia, 93. Lines, 7 on a
page. Extent in Slokas, 1,200. Character, Nagara. Dated (Samvat)
19[0]4. New. Complete.
The first kanda begins in page 2 and ends in p. 20B.
The second kanda ends in p. 60B.
The third has a new pagination from 1 to 34A.
The new part was copied in 19[0]4 (Samvat).
4639.
9165. The Same.
Substance, country-made paper. 13x7 inches. Folia, 147. Lines, 4,
5 on a page. Extent in glokas, 580. Character, Nagara. Appearance,
not fresh.
From the beginning almost to the end of the
K^atriya-varga.
4640.
5347. The Same.
Substance, country-made paper. 19x4 inches. Folia, 23 to 07,
Lines, 5 on a page. Character, Bengali, Date, Saka 1619. Appearance,
very old.
From the Simhadi-varga to the end. There is only
the last leaf of Vanan^adhi-varga.
Colophon : —
wps
I
Post Colophon Statement ; —
+ + I
( 289 )
4641.
5295. The Same.
Substance, country-made paper. 16 x3J inches. Folia, 119. Lines,
4 on a page. Character, Bengali. Date, Saka 1716. Appearance, fresh.
Complete.
Full of marginal notes.
Colophon : —
I
Post Colophon Statement : —
^Tf i
I ^cm: i i sift’s
qiT^^sr ftis^ifw: I
fsrf^cf usl %*! stvs i
fTTST =9 33;9|i^ S^ ftST ||
st st 4*" ^ «qt ffftr I Sil^-
qrrjnift i
4642.
11028. The Same.
Two batches of leaves :
I.
Substance, country-made paper. 8x4 inches. Folia, 12. Lines, 8 on
a page. Character, modern Nagara. Appearance, fresh.
Up to the synonyms of the sun (of the Svarga-
varga).
IL
Substance, country-made paper, 7Jx3| inches. Folia, 12-1^9,
Character, modern KaSmiri. Appearance, fresh.
From the synonyms of ‘ day ’ (of the Svarga-varga)
to the end of the work.
37
( 290 )
Last Colophon : —
?EnRTH%^ I
irmf^giTwri? i
if ?5rT3COTnc^^ n
4643.
3870. The Same.
Substance, country -made paper. 11x3 inches. Folia, 84 by count-
ing. Lines, 4 on a page. Character, Bengali of the seventeenth century.
Appearance, old and worn-out. Writing effaced ; especially in the last
leaf. Incomplete.
The last leaf, writing on which is very much effaced,
contains the following evidently in a later hand : —
^ + + + 5 + + + +
w<< w n g + + + +
WTuni "TKWtWtft ^HirVsTfu'T-’T^i^
f^w «»l«i<n:a7V5ef«rTc(i^T + + + + ’t +
+ + + + *W7r
Hlftar + + + + + + + + + f4VRwft:
^ •
4644.
3071. The Same.
Substance, country-made paper. 12J x 6£ inches. Folia, 44. Lines,
9 on a page. Character, N&gara of the eighteenth century. Appearance,
discoloured.
The MS. contains only the third ka^da of Amarako^a
( 291 )
4646 .
5249. The Same.
Substance, country-made paper. 14x3 inches. Folia, 133. Lines, 6
on a page. Character, Bengali of the eighteenth century. Appearance,
good. Complete.
4646 .
3634. The Same.
Substance, country-made paper. 12^x3 inches. Folia, 2 to 119,
of which 2 to 4 half portions lost. Lines, 6 on a page. Character,
Bengali. Date, Baka 1623. Appearance, old and discoloured.
Post Colophon ; —
a ^8 I sw! I I
»W! I
With this there are five stray leaves.
4647 .
5186. The Same.
Substance, country-made paper. 17x3 inches. Folia, 111. Lines, 6
on a page. Character, Bengali, Date, Saka 1622. Appearance, old and
discoloured. Complete.
Colophon ; —
Post Colophon Statement : —
wil «RTnaif i
irarw i
I
JTBl SiRV!f
^ wtriftnafiro* i
( 292 )
4lfno! n II « «
4648.
6247. The Same.
Substance, country-made yellow paper. 16^ x 3 inches. Folia, 2 to
85. Lines, 3, 4 on a page. Character, Bengali of the nineteenth century.
Appearance, discoloured.
To the end of the K^attriya-varga.
4649.
4425. The Same,
Substance, country-made paper. 15x4 inches. Folia, 113. Lines, 5
on a page. Character, Bengali. Date, Saka 1725. Appearance, dis-
coloured and worn-out. Complete.
Colophon : —
^
I
Post Colophon : —
•mtfis w^jst^TftwT n
I
V*
(?) TKT% -TO ^ HTV% 9S(%fe
5WWT II
4650.
5225. The Same.
Substance, country-made paper. 16J x 3 inches. Folia, 106. Lines,
4, 6 on a page. Character, Bengali of the early nineteenth century. Ap-
(^293 )
pearance, old and discoloured. Complete. Full of marginal notes. (Up
to 70A.)
After the end of the MS., the well-known sloka of
Bhatti etc., is written in a later hand. Then
in the same later hand : —
rTRt ^ etc., etc.,
4651.
4529. The Same.
Subst ance, country-made paper. 17 x 3^ inches. Folia, 90. Lines, 5
on a page. Character, Bengali of the eighteenth century. Appearance,
old and discoloured. Complete.
Full cf marginal notes of great value.
Last Colophon : —
'’RM wf^Tci: I
4662.
5101. The Same,
Substance, country-made paper. 18x4 inches. Folia, 2 to 108.
Lines, 4 on a page. Character, Bengali of the eighteenth century. Ap-
pearance, old and discoloured,
4653.
9555. I Trikan4ct-Sesah.
By Purusottama.
Substance, country-made paper. 13x6 inches. Folia, 66. Lines, 8
on a page. Extent in Slokas, 1,066. Character, Nagara. Date, Samvat
1913. Appearance, tolerable. Complete.
Post Colophon : —
^ 1
Last Colophon : —
I
( 294 )
This is a supplement to Amarakoga, treating of such
words as were not current in the days of Amara and so
not mentioned by him in his Ko^a. The author of the
supplement seems to have been the author of the Bha^a-
vrtti and lived in the twelfth century in Bengal. He was
a Buddhist and the Commentator of his grammar says
that he flourished at the Court of Lak^mana Sena.
See 1.0., Vol. II, pp. 280A-80B, No. 993 and the edi-
tion made under the order of Colebrooke in 1807 at
Calcutta.
4654.
4757. The Same.
Substance, palm-leat. 12x2J inches. Folia, 4. Lines, 9 on a page.
Chewaoter, Bengali of the twelfth century. Appearance, old and dis-
coloured.
A mere fragment containing only the beginning. But
in this MS. each word is separated from the next by a
comma and one set of synonyms from another by a
semicolon.
4655.
9647. or |
Mnktavall or ViSva4ocanam.
By Srldhara^ the son of Muni-sena.
Substance, country-made paper. 14x6J inches. Folia, 12. Lines,
23 on a page. Extent in Slokas, 1,180. Character, N&gara. Appearance,
tolerable. Incomplete.
This is an incomplete MS. of a synonymous
lexicon, to Ahe end of the Dhftnta-varga, the words being
arranged strictly in an order with the letter of the
alphabet at the end in alphabetical order.
A supplement to the Amarako^a.
{ 296 )
Beginning : —
• 4 ‘ »t»rt i
■ 4 ‘ snrfa wRTnwt
TT5 snr^t WTt?:rt «t*sra>t »r>iT! i
mi<iw f<t JW
f^Wfa < l < r*{ c< 4^ a > l%n T I V K
T^tmsrsim ?Rff4f«i%n>rmT i
«f[T]j^tfBP(?t ?ras«7rra*r^t ^ ftWT
^ ^ II ^ II
?rsitw«<i^r<i^*mciT«i-
^t^trnfijafsTOOTTT^W! II ? n
CN ^
aigjTfiinTf^f’r 1?^! »rnr^^
*JT0W vN'-
e «
fifTftra! yfinTTf**f?Tprt
5^»r9PTt ^ I
fireimft «ri i as><j i wrt f»nrtw»r i
~»
’«iwr I’Tf^nWNvnoJiJTsift
»ttil*jr*i‘«r«iflVt«(*(q*i»rw
<«
f^fn?rr ^ «finn?pi i • i
^ 296 )
^JITOT*i ’T! ^flTJWWJTti: || ' II
^Tpffw: i
TOsfts ^nm: ai5T?if**rtff ii t li
The author Rridhara was a Buddhist. His father
Muni-sena renounced the world and made the universe
the participator of his wealth.
4656.
2.584. I Amarakosodghnla.nam
Ksira-svamVs commentary entitled Amara-koend-
ghdtanam.
Substance, country-made paper. lOJx 4 inches. Folia, 117. Lines,
17 on a page. Extent in §lokas, 8,000 as given at the end of the man-
uscript. Date, Samvat 1651. Appearance, old and discoloTired. Com-
plete.
Colophon : —
Tfir
»fTHT!!r-
Post Colophon ;
^ooe I
The date and scribe of the MS.
*iTir5^ T>f-,
^T»wrf^!llt(?) Wfil fwfisaT fn?: ’RTT^ «
^ « ’#1 « »
See I.O. Catal. No. 962. The commentator was a
Kasmirian of the 8th Century A.D.
( 297 )
4657.
8745. I Amara-lcosa with Uka,
A commentary on Amara-kosa,
By Kslra-maml.
Substance, country paper. 11x6, 6|; inches. Folia, 32. Lines, 10
on a page. In tripa^ha form to the end of Patala-varga. Character,
Nagara. Old. Fresh. Incomplete.
4658
5579.
1
Amara-kosah, with tika-sarvasvah.
With Sarvananda BanerjVs commentary, hi
tripatha form.
Substance, palm-leaf. UJ x IJ inches. Folia, 180. In tripatha form.
Character, Udiya of the eighteenth century. Appearance, good.
The commentary begins thus : —
^*1! ftfVT! ttngiiPvaw 1
+ + + + +
wftw TTiprff ^ 1
wra?i! ir^nn! wi
irmairnr i
38
( 298 )
The commentary has been lately published by T.
Ganapati Sastrl in the Trivendrum Sanskrit Series.
The date of composition is 1159 A.D.
4659 .
846.
Pada-candrika {a commentary on Amara^kosa).
By Rdya-mukuta.
For the manuscript see L. 1702, and for a list of
authorities quoted and consulted by the author see Th.
Aufrecht, Zeitsch. d. D. Morg. Ges. XXVIII. p. 109.
4660 .
4683. T^he Same.
Substance, country-made paper. 17x4i inches. Folia, 6. Lines,
10 on a page. Character, Bengali of the nineteenth century. Appear-
ance, fresh.
A mere fragment containing the commentary up to
the synonyms of Vidyadhara.
4661 .
3526. I
Amara-ko$a~tika {entitled Manorama).
Substance, palm-leaf. 16xlJ inches. Folia, 161 by counting.
Lines, 4, 6, 6 on a page. Character, Bengali. Date, Saka 1640. Appear-
ance, old.
The MS. is very old and too much damaged to be
handled without further injury to it. The leaves are in
disorder and leaf-marks all corroded. Counting from the
beginning we get 151 leaves and, in leaf 133B, is the fol-
lowing chronogram of the scribe : —
( 299 )
fttf I
:5WT^ intrant I
iffi% JT^«:?n fwfiytrr nxflfwif^g i
N*
On the obverse of the last leaf there are two janma-
kv/ndaVis of the sons of the owner, dated Saka 1551 and
1562.
4662.
2204. I Amara~kosa-i%ka.
Called Abhidhana-bodhanl.
By Laksmi-dhara.
Substance, country-made paper. 9x3J inches. Folia, 56. Lines, 11
on a page. Extent in Slokas, 1,800. Character, Nagara of the eighteenth
century. Incomplete. To the end of the Nan&rtha-varga. Worm-eaten
and discoloured.
There is only one full colophon in leaf 37 B, at the
end of the Sudra-varga
Beginning : —
4663.
8740. l Vyakhya-Sudha.
By Rama~hhadrdsrama,
Substance, country paper. 12Jx4i inches. Folia, 118. Lines, 8 on
a page. Extent in Slokas, 3;300. Character, Nfigara. Appearance, fresh.
Incomplete.
The first kanda with tika.
The Colophon : —
int«5TOVT-
BW* BtPB! WHTHi I
( 300 )
It begins : —
# «rwT ;p I
«w^: «rnst g^T^^stgjrr ii
4664.
8741 . The Same.
By Bhanuji Dlksita, the son of Bhattoji Dlksita under the
patronage of Klrti Sinha^ the Mahdraja-kumm of
of the Bdghela territory.
Substance, country-made paper. 13|x 6 inches. Folia, 13. Lines,
13 on a page. Extent in Slokas, 676. Character, Nagara. Appearance,
fresh. Incomplete.
On renouncing the world, the author changed his
name to Ramasrama.
The third kanda only.
The Colophon runs thus : —
1^^^ i
4665.
8742 . The Same {with text).
Substance, country paper. 13x5 inches. Folia, 106. Lines, 1 1 on a
page. In tripa^ha form. Character, Ndgara. Dated, Saipvat 1886. Ap-
pearance, fresh. Incomplete.
The third kanda only.
Incomplete from leaf 26 to leaf 131 .
4666.
8743. The Same {with text).
Substance, country paper. 10}x4| inches^ Folia, 51. Lines, 8 on a
page. In trip&tha form. Character, N&gara. Old. Incomplete.
The second kanda. '
( 301 )
Incomplete, from leaf 126 to the end in leaf 176.
A part of and i
8743 A. The same work.
Substance, country paper. 11^x6 inches. Folia, 17. Lines, 13 on a
page. Extent in Slokas, 600. Chara.cter, Nagara. Old. Incomplete.
4667.
942. The Same {with text).
Substance, country-made paper. 12^x6 inches. Folia, kanda I has
160 leaves ; II, 391 ; and III, 164. Extent in ilokas, 17,000 (by a state-
ment in the manuscript). Character, Nagara. Appearance, fresh. Com-
plete.
The manuscript contains the text in the middle and
the commentary above and below it.
See 1.0. Catal. Nos. 965 to 967, and L. 852.
The name of the clan of the patron of the author has
been variously read. Weber read it as Varbala, and
Wilson Bundaila or Bundel. All other scholars have
read it as Baghela. The present manuscript, too, in the
only two colophons it has, reads Baghela. The state
Mahiyara of the author’s patron is Myhere in the Baghel-
khand Agency, as given in Aitchison’s Treatises and
Sunuds. Bhanuji Diksita, son of Bhattoji Diksita, became
a Sannyasi under the name of Ramasrama.
4668.
8744. I
C\
Plyusakhya {a commentary on Amara-kosa).
By Rama-krsna Diksita^ the son of Govardhana Diksita.
Substance, country paper. 11x6 inches. Folia, 64. Lines, 10 on a
page. Extent in Slokas, 1,800. Character, Nagara. Dated, Samvat 1694.
01^. Fresh. Complete.
( 302 )
The third kanda only.
Composed in Samvat 1694.
The last Colophon : —
Tfa wm:-
iftVfl- ^WTR! I
ul?fti«ji*TtT nfn «
?;T^|re:rf'^^:?rg^
STJltng (!) ^
fsii^rrftrs ^Tciti^T^ I
4669 .
119. M^T ^ Ii T' ^ ' f t I Padartha^kaumudl ,
A commentary on Amara-kosa,
By Narayana Cakra-vartl,
The present manuscript has been described by Dr.
Rajendra-lala Mittra under No. 922.
A commentary on 'Amara-ko^a by Narayana who is
later than Raya-Mukuta (1431) whom he quotes. (See
next number).
Post Colophon Statement : —
35WT^ W^vs^
The authorities quoted are : —
(1) (2) (3) (4) TTO^, (6)
(6) (7) (8) (9) (10) (11) TulfW,
( 303 )
(12) (13) (14) ftmi*, (15) (16)
’rawN, (17) gmjT, (18) (19) (20) (21)
?mj«Tjr, (22) «nft, (23) (24) (25) t,ifl(var, (26)
^jfNTTt, (27) (28) irfiii(T=fsmftr, (29) w, (30) irff,
(31) (32) sunrmwr, (33) (34;
(35) VT ^ gfg . (36) (37) tJTguflTT, (38) (39)
KSPrt^ ^wrf^wTO!, (40) (41) wf, (42) ttcw), (43)
WfsifC, (44) fr(JT«Tse(t, (45) (46) (47)
(48) (49) ^’EiT, (50) ^^^2, (51) ^T*T>f, (52) wphcT,
(53) JTgJTTvft', (54) (55) *nv^, (56) (57) ’rftwJlF,
(58) mvft, (59) ?r5etfi[j^, (60) Tipsm, (61) «5^, (62) «mr,
(63) atifMSifw, (64) Hxwcfn i
4670.
4616. The Same.
A commentary on Amara-lcosa.
Substance, country-made paper. 17 x 3 J inches. Folia, 10. Lines,
8 on a page. Character, Bengali. Date, Saka 1701. Appearance, fresh.
A fragment, containing the commentary on the
Linga-sarngraha-varga only.
Before colophon we have in this MS. the date of
composition ; —
Post Colophon
I \e>0\ I
( 304 )
4671.
3157. The San
A commentary on Amara-kosa.
By Narayaim Cakra-vartti here called Puta-tunda.
Substance, country-made yellow paper. 17x3^ inches. Folia, 189.
Lines, 7 on a page. Extent in Slokas, 7,900. Character, Bengali. Date,
1632 of the Saka era. Appearance, discoloured. Complete.
Colophon : —
tram: I I
Post Colophon ; —
I ^r^Ts^T! I
afTSTTcft
■srsrra ^ 1%^ ii
At the end of the Svarga-varga, the author gives his
family name as Puta-tunda : —
Puta-tunda is one of the 56 villages which gave
names to the brahmans brought to W. Bengal by Adi-
Sura.
The commentary was composed in Saka 1540, given
as the current year by the commentator while on the
section relating to yuga^.
See L. 922 and I.O. Catal. Nos. 958 959,
( 305 )
4672.
3410. I Pada-manjarl.
A cotmnenlarif on A^nara-kOf^d.
By Loka-natha Barman,
Subatanoe, country-made paper. 17ix^i inchen. Folia, 127. Lines,
n on a page. Extent in slokas, 8,300. Character, Bengali of the
seventeenth century. Appearance, discoloured. Complete.
For tho beginning of the commentary, see T.O. Catal.
No. 983. The second introductory verse, as quoted in
1.0. Cat., is not in the present manuscript.
The work erids thus : —
C\
(JolopJioti : —
f?^:S5tTnTfTV'*[^55:s i
4673.
5148. I Amarakomh.
(And Bharata Mallika's commentary called Mugdha-
bodhmi on Linyadi-m^ngraha-varga.)
Substance, country-made paper. 17x4 inches. Folia, text : 91 -l-com-
mentary 20. Lines, 5, 0 on a page. Character, Bengali. Date, Saka
1666. Appearance, old and discoloured.
Amara-ko^a is incomplete, going to the end of Lihgadi-
samgraha-varga (leaves 1 to 91). The commentary on
Lingadi-saingraha is complete in 20 leaves.
39
( 30G )
Colophon to Amara-kom : —
IT? ^wfs^cf: I TffT I
Post Colophon Stalemeid : —
I I
The comin-e.nlury beyinn : —
4‘ nitvrnr I
(Jolophon ;—
ifa
sI^T^^jits^^WSSci:, (‘tc., I'tc.
:$H»8. I Mnydho-hodhhri.
.1 coinmeiildiy on Auiam-kosa.
By Bharala Seva or Bharula Mallika.
8iihHtance, country -niado paper. 18J v 4J inches. Folia, 210, Une«,
12 on a page, hlxtent in filokus, 12.800, Character, Bengali. Date, Saka
1730. Appear.ince. fresh Complete. Well- written andloorreot.
Colophon :- -
{ 307 )
%13^IIW l^JT II
V* '
«i?:g»?i37T^*r l^fgar feni^l' g»Tr i
^TJT^Titra^rT^sr TT^WT II
iiJT; I w, etc., etc., etc.
See 1,0. (Vital. Nos. 973-976.
The commeiitator lived in the middle of the 18th
century A. 1). I have seen his groat grandson l^oka-natha
Mallika.
4675.
5162. The Same.
A conhmenfa/rif on LinqMi-mmgraha-varga^
Substance, country-made paper. 10x3} inches. Folia, 18. Lines,
10 on a page. Character, Bengali of the eighteenth centiny. Date, Saka
1622. Appearance, disi oloured. Complete.
Beginning ■. -
vrJT?% nr /
I waiftftr tt ^
End : —
Tfa gj*i>rt'arTgwn;a: i
«Tfn5ii^nB9TOT5f Tri ii
_ ww%»r! Tg^^Tf^^sjii u
Colophon : —
wTiwr 1
( 308 )
Post Colophon Statement : —
^5!!: I =w: I
^?:ffT3|i»Titf?( I
125.
4676 .
I Lingadi,-snmgraho,-1lkd.
Aiumpinous.
SubstaiKit', couiiiry*inade paper. Tii x li inchen b’olia, 17. Linos, S.
lOxtent in slokas, 4<K1. Lliaraeler, Bongali Dale, i^aka 1244. Appear-
ance, froKh. Complete
It is ii coHinieiitary on the last chapter oi Amara-kosa,
and not, as Rajendra-lala says in 1j, 920, on a treatise
on gratuinar.
Colophon : —
OT^rlsTiifg II
Ttrf^fSET
^hth rrw i
4677 .
5131. I
Lih(jadi'Sam(jrah^^^^^^
By Mahamahopadhyaya Jidma-natha Vidyd-vdcaspali.
Substance, country- made paper. 16x3] incheH. Folia, 10. Lines, 7
on a pap;o. Extent in slokas, .3,70. Character, Drni^ali of the eighteenth
ctnitury. Ajipennun'e. di.scoloured. Cornjiletc.
( 309 )
Bf^givnwg : —
iTjRT i
^Tf^r ^7f?^?5qmwT^
I, etc.
(U)Jopli())/ :
cTPTT fecTJ^X! ^fcxxnn^: i
J\)S(f. (JnlophoN : —
=^lTTIJrTWT^t
fmw I I
4678.
4004. The Bame,
Su}:)st ancM:>, (‘oiinii’y-mndo ])ap('r. lOxJ^J irielies. Folio, 80 to 214.
Lines, 8 on a pago. Character, Bengnli of the eighteenth century. Ap-
pearance, diHcc)loiired and worn-olf.
From the middle of the Fatala-varga to the end of
the Brahma-varga.
The colophon of the Brahma-varga runs : —
Tfft ?:nT5rFTf^^Tm^tffH3>% 5r^rfTiT*i> i
In the colophon of the Bhfimi-vargn the commenta-
tor is styled Mahamahopadhyaya.
(. 310 )
4679.
3896. The Same,
liy Raghu-ndlha dakra-varti.
Substanoo, eountry-made paper. 17|x3 inches. Folia, 34 to 14(1.
Lines, (1 on a page. Character, Bengali. Date, Saka 1695. Appearance,
old, moiiRe-eatcn and discoloured.
fncoiiiplete at both ends, from the middle of Svarga-
varga to the end of Manusya-varga.
( 'olophon :
^fTTHiF I
Post Colophon: —
4680.
3524. l Amara-kom-lcaumuM,
A commentary on the Arnara^kosa,
By Nayanananda Rarma,
Substance, country-made paper 18 x3J inches, Folia, 17 by count-
ing. Lines, 11 on a page. Character, Bengali of the eighteenth century.
Appearance, old and discoloured.
A mere fragment containing only the beginning of
the commentary. Even the Svarga-varga iwS not com-
plete.
See 1.0. Catal. No. 982.
4681.
3503. I Ratna-mdla,
A commentary on Amara-koaa,
By Rainesvara Gakra-vartl, son of Ramd-ndtha Cakra-vartl,
Substance, palm- leaf. 17xlJ inches. Folia, 144. Lines, 4 on a
page. Character, Bengali of the nineteenth century. Appearance, fresh.
( 311 )
From the beginning of the Piira-varga to the
M anii^ya-varga which is very nearly complete. Ihiiqiie.
Colophon in leaf 16 B: -
4682.
1617. ^fTT^t^rf: I Ainaroddyoloh.
fly Purnsoildma Tarkalankani.
Substance. cf)unir\ - in.idc yellow p.ipof. 1.5 xS incheK Koliti. 184
Lines, 0 and 1) on a page. Extent in Rlokas, (),d00. (diaraeter, liongnli.
Appearance, very old. Eom])lete.
Pod Colophon : -
f<Vf H5ST3?JWtf«>€?r®5»T
\
II
Last Colophon : —
TfcT I
imT II
it is a Gomiiieatary on the ‘ Amara-ko^a ' by Puru-
^ottama Tarkalaiikara: it is a unique commentary un-
known to Aufreebt. ^
It begins :—
^T^(?)fr5^RtTT^Tl5 I
( :}12 )
f5J5ng^rf5TT(?)
^f^'En’^?Tgj;^p5rT: i
^^siTfir TW m?;tfft:5rTr!r
wait ^tlT ’5*T’»’5rt Sf fiiwl^ fsfRtrt B
^rat ^fincT^m ffsiftr sr trK i
Authorities consulted : —
; 2A, ^^irtw ; 3A. wtlwwtHITJil ; 3B, ftf?^!-
: 5A, ; 6A, Wflrfltwt ; 6B, ; lOA, faw't-
1()>5, 'JT^^TJnV ; 25 A,wt=^T!; 26B, wum:; 32A,
ftaniTti; 49B, ; 50A, fsi^r!?;:, WTOTtf: ; 65A, ;
75B, %t^nt; 78B, ; 105B, fwtg: ; 131B, ht^: ; 132A,
xvw - ; 149B, UTTnft; 159A, 159B, 164B, itrsrfl;
1 65A, w^tl I
4683.
9938. I
Amara-JiOm, with a wmmenlary.
SubHtance, country-made paper. 12x4 inches. Folia, 39. Lines, 9
on a page. In tripatha form. Character, Nagara. Appearance, fresh.
From the Bliumi-varga to a portion of the Vanau-
^adhi-varga.
7994.
4684.
Amara-kosa4lka.
(Aiwnymous,)
Substance, country-made paper. 17Jx4 inches. Folia, 66. fanes,
10 on a page. Character, Bengali of the seventeenth century. Appear '
ance, old, discoloured and worn-out.
From Svarga-varga to Manusya-varga,
( 313 )
Beginning : —
' 4 ‘ surt nwwpi II
^RTWlfJT «^i*r I
^ iTSlli^Tir II
Svarga-varga ends in 2211 ( ^s^avT<t ^3 t: )
Pfitala-varga ends in 2811 ( TnrnwH'yTiTT ^3?: )
Bhfiini-varga ends in 2911 ( an: JifHaar;) and
so on to the Manusya-varga.
4685 .
8717.
A^nara-kosd frith a comwefitary,
SLi])Htanc'o, country paper. lOAxT) int'heK. Folia, 1 88. In tripatha
form, ('haracter, Nagara New. Incomplete.
Amarakosa with a commentary from
(1) 5 to 40 leaves. (2) 1 to 50 leaves. (3) 1 to 25
loaves. (4) 65 to 95 leaves. (5) 69 to 81 leaves. (6) 18
to 38 loaves. (7) 40 to 53 loaves.
8746.
4686 .
Arnara-kosa-tika,
Substance, country paper. 12^x5 inches. Folia, 41. In tripatha
form. Character, Nagara. Fresh. Incomplete.
The second kanda. J^oaves 1-41.
4687 .
5086. tn^5IrT5fl5TP®T I Pancayatmii’-vyakhya.
Substance, country-made paper. 17 x 3^ inches. Folia, 5, of which
the first is missing. Lines, 8 on a page. Character, Bengali of the
eighteenth century. Appearance, old and discoloured, A fragment.
40
( 314 )
Every leaf of the MS. is marked Pancayatani-vyakhya
on the right hand side.
It is a fragment of a commentary on Amara-kosa,
call(‘d Pahoayatani, as it gives Hve different interpreta-
tions of the opening verse.
4688.
10523. |
Hy Mahesvam.
SubHtance, count.r.s -m^ide paper. 0^x4 inehes Folio, 115. Liuok, 1)
on a page. Extent in .slokaw, 2,30(1. (.^aracter, Nagara. Date, Sairivnt
1809. Ap])earance, di.<^colonre(l. (.‘omplete.
L(M ('olnphoii :~
Po.<t1, f Udophov : —
A homonyinic dictionary, compiled in A.D. 1111,
well known and often noticed. See Oxf. No. 428, l.O.
Oatal. No. 1000 and L. 1581.
4689.
7.54. The Same.
For the MS. see L. 1581 and for the work, H.F.S.
Nep. Cat.. Vol. IT, pp. lOti 110.
Leaves 69 to 78 are missing.
Post Colophon:—
uai! >tn?iT ^«f8<> I
ww qsprawrt T’^srwt
’4\fr05»sj II
( 315 )
4690.
7224, I A hhidha /? a-oinlaraani h .
The first or sy)tonifmous purl of licnHtcandrd s dictionary
Hivhna Kosha).
Substance, count, ry-mado pnf>or. I0| x incheH. Folia, 53. Lines,
15 on a page. ( Jharacioi-, .Inina Nagara. Date, Samvat 1769. Appear-
ance, discoloun'd. (>)inpl.et<\ A beautifully written manuscript.
('alophon : —
JTT5n^ I tT^JTT^
PoM Colophon ;
Well known and often printed in India and Europe.
See 1.0. Oatal. No. 1(M)4.
1690 A.
6614. The Same.
With an Avacuri.
Substance, country-made paper. Iljx5i inches. Folia, 146. la
tripatha form. Character, Nagara of the eighteenth century Appear-
ance, discoloured. Complete.
Last Colophon : —
mJJTJJPIfTJS! Jre: II
LaM Colophon to the Avacuri :—
^SJItTJ8T4=|fj:: SHTHT |l
{ 316 )
Post (■olophon -
^ II II ^
u
4691.
1733. The Sarnie.
SuhhtMiicH', couniry-iHiide paper. 1 1 X 4.? inches. Folia, 156, lanes,
8 on a pa^^c. Extent in slokas, 2,772. Cliaraeler, Nagarn. Appearance,
froBh. Complete in yix kuiida.s.
See 1,0. Catal. No. 1004, p. 2S3A Often printed in
India. A eritical edition at St. Petersburg, 1847.
4692.
748. I A iieJc.arflin-.‘i(mi(jr(ili(ih .
By Hema-candm.
For tlio manuscript see L. 1587.
Leaf 2A -
tr«rH: I
Leaf 32A
I
Leaf 72
« ?wth: I
After 72 begins a separate pagination.
17 A, o '^g:*95S;a|iTlS: ?WTK! I
20A, » ?TOnn: i
20B, in the first line wmfl; i
Then begins Avyaya-kanda : —
( 317 )
So Rajendra-lala’s statement “ ”
is not correct.
The last colop ho )) :
^TJTTHJ 1
It ends : —
II
Jr%’5r"t stjTcJ 3fiT!f f^^mgtr^HTcT: I
+ + -]-+ «T*T ^ai ^5^^- II
4693.
7999 . The Same,
With a cominenlarif called AimlcdrthaA^mravdh^^
kau/m udi,
Hy Hemacandra.
Substance, country-made paper. 10| x 4| inclies. Folia, 80. Lines,
15 on fi pa^e. ('liaracter. Jama Nagara of the eigliioentli century.
Ajipcarance, old and l•(‘pH.lr(id. Inoomplele at tlif) end.
Beginning : —
tTTflTSTT*f«Tst»q I
(?) i
^jTft'^inn^rvrTjffc^iwftt^K^Tftnt ii
f^sfingWT^Isnfn =9 fl|i^7t5%^TO2*(%^ II
f^irTgitT«^5^TfH^fjDS> f^ffsuSlT: I
«rrfj ^ ?lfT!fff: 5g;i II
?rgN%^^c(T*(fr«STT'j45«g'i««% i
( 318 )
(Text) «n?TTTa! i
Tr?i!^rrf?tf35T^T fsfs^r’^ii^fl^nr ii
The second or hoinonynious part of Hciiiacandra’s
dictionary, arranged in six parts.
^rirrH! ii ii
«ifT I ^-SI fer^rsRTIBSfTTOim I pT^TT?^ aRTJftTf I
The second kanda ends abrnptly.
4694.
S748. I
S esa-8(imgraha-mroddh(ira^ ,
{A pari of Abhidlidna-cintamani.)
By Hema-ca ndra,
HubaUmce, country paper. 9^x5 in<?hoy. Folia, 18. Lines, 8 on a
page. Extent in Si okas, 276. Character, Nagara. Date, 1901. New.
Complete.
The last colophon runs thus : -
fiW 8 WT^ I
It begins : —
uftmTf^rrr^! fe:s5Errjrir5s^5^m’i: i
^iirmmj=r»TT^T^t li
4695.
3050. I \'irikta-Hd7na-samgrahah»
m
By Bhanu-candra Gani, pupil of Sura-candra,
For the MS. and the work see L. 4015. It gives the
derivations of the words in Heina-eandracarya’s Kama-
( 319 )
samgraha. It was originally intended for the author’s
pupils, Bhavacandra and others. The author was de-
corated with the title ol‘ IJpadhyaya by Akabbara
Jallaladina.
4696.
1734. I Narmi-mala
( ofhenrise called Santda-imnaf - nfald),
Ihj Harm UpadhyayfL
Siibslanoo, coiintry-niade juiper. 10;J y 4^ inclios. Folia, 26. Lines,
on a pa^f\ Lxtoiu iii slokas, 840. Oharaider, Na^ani. Dato. Samvat
IHOO. ApfiearaiH’o, fresh. Complete in three kandas.
( Udophon :
j-fa fTT^f^TlfHg^nTfnrr^fT
HHTm; I
Cudt ( '(dopiion :
f?:<^hn^T -^4
^fjrfrsTii^TWRj %<^T!
1’here arc altogether 433 verses.
The laxt verxe :
«r??iT[ ■ ] I
^TJg[ ts ] Baftf'A?rr[i] ii
Beginning :■ —
nTIT*EIT ’nUHT^T! flT5TTf*TW *IsitK*IT: ||
I
^rur^T jfT^ m?;#! jfl[ : ] i
*tC): II
( 320 )
uSsTslTW I
jT^nsr*!: i
IfTTg?: )?u5ft«r?;»rirnf^j»i: ii
End : —
(?) =tTJT I
trfjrfgH f«n:« gHjftftfrw i
H13*1TH I
^^si ITTasf 9ira'n3«^^ II
4697.
3741. TITT^^ I ildrahah.
Hy P'urusoUahia,
Subfttance, country-made |)a])er. 15x2.| inches. Folia, Iti. Lines, 5
on a page. Character, Bengali. Date, Saka 1591. Appearance, worn-
out. Complete.
Colophon : —
Tfcl ^JTTRT I
Post Colophon : -
^rnStftw I
A Sanskrit dictionary of uncommon words. iSee L.
531 and LO. Catal. No. 1020.
The work has been printed repeatedly in India.
4698.
2830. The. Same,
By PnrusoUama Deva.
Substance, country-made paper. 19x5 inches. Folia, 12. Lines, 7
on a page. Character, Bengali. Appearance, discoloured. Complete.
Ink failing.
( 321 )
A well-known Sanskrit dictionary placed by Dr.
Wilson in the tenth or eleventh century. For the begin-
ning and the end of the work see L. 531. Repeatedly
printed in India.
Puru^ottama appears to be the same as the author of
Bha^avrtti and Trikanda-sesa and he adorned the Court
of Laksinana Sena, the last Hindu king of Bengal, in the
end of the 12th Century A.D.
4699.
9312. I Mediul-kosah.
By Medinl-kara.
Substance, country-made paper. 10 x 4 inches. Folia, 7. Lines, 13
on a page. Extent in slokas, 230. Character, Nagara. Appearance,
tolerable. Incomplete. Written in a beautiful hand.
I'o the end of the Kanta-varga.
The MS. of DeBavali‘Vivrti in the Sanskrit College
Library says that Medini-kara the author, the son of
Prana-kara, was the founder of the city of Medini-pura
in Bengal in probably the thirteenth century A.D. when
Bengal was a Province of Delhi and Orissa was indepen-
dent and included the border district of Medini-pura in it.
Medini-kara was a governor under the Gahga kings of
Orissa.
See I.O. Catal. No. 1024.
4700.
4496. The Same,
Substance, country-made yellow paper. 12^ x 4 inches. Folia, 174.
Lines, 6 on a page. Character, Bengali. Date, Saka 1746. Appearance,
fresh. Complete.
Last Colophon : —
41
( 322 )
Post Colophon Statement : —
^fSR! I I ?f?(I I
C-v
:Tr II
4701.
4426. The Same,
Substance, country*made paper. 16| x 4J inches. Folia, 110. Lines,
7 on a page. Character, Bengali of the nineteenth century. Appearance,
fresh. Complete.
4702.
3541. The Same.
Substance, palm-leaf. 17x1^ inches. Folia, 140. Lines, 3, 4 on a
page. Character, Bengali. Appearance, worm-eaten. Complete.
4703.
2823. The Same.
Substance, country-made; yellow paper. 19^x3^ inches. Folia, 3.
Lines, 7 on a page. Character, Bengali in a modern hand. Appearance,
fresh.
A fragment of the well-known homonymous diction-
ary.
4703A.
10458. I Ratna-lcosah.
Substance, country-made paper. x 3 inches. Folia, 38. Lines, 5
on a page. Extent in slokas, 288. Character, Jaina Nagara of the
nineteenth century. Appearance, fresh. Complete.
Enumeration of things of definite numbers. For a
work of similar nature see Oxf, 352 A.
( 323 )
Beginning : —
w4srw«^' ?:*s ?i4^rreTH^T9CT« i
?:s(^'hi ii
^ Tt%5r ^-^Tint ii
^T ^WJTTfsf I f^ftVT
I Wf'STT! I TT^T^f: I '53T1;: I
I ^TKl’W I, etc., etc.
6A, ii
I I ^rtfr^Ti i i i
'T^ITTS: I I f»[ I ^TS^TK I I I
ftr^TK I wiT^T I ^TTt 1 gs I Ptftrn: i i
TT^^S I 2:Taii^?I I ^srsaf^l I %ZTTTiStcni: I -n^ 1
I I TTHT^R I 4lii*IH^ I VTITTmT I
^'ir I fsT^ I ^TffJT I I ^fftrinr i i
ftmf I 'f rST I I ^TftraR I I
( But by actual counting we get 37 names of royal
families.)
l.'iA, I
tj 4 ^irysr I ^TJgfSi I anfwf i jtw l l
w I f^JT I ?;t 5 I I I ^Trum: i
I ^ I I !fiTJT^ I I iff« I
trt^’r I ^%5T I wratn: I wfftrfT i i i
I I f f m I w I ^Jrm i i
ir^tns I fl-R I I ttt’st^t i i i
^<T*?fl5tT I jnrrf^ I funopT I ftr^ i i ^n^-
?:T»n I
I I fttsij I I I ’?«8(T I
( 324 )
gwnB I I I w I i
T I frflT^ I wtrw I i
»f?r«T (?) I iT^ I ftnfw I Hi? I I mJT^ t
«(Ri I firar I aRjnfz I »?f4^ I ’^t>(4cT I fttre i
I wTsft I HpifK^)cre I i i
’f^(f )’^ra^ I ^TWT^r i to i i ii
II
End : —
wgw I 1 Trn i i awr i
%ftr II
Colophon : —
Tfa ^ifa^fsTUH 3instira: ii
N»
4704.
8990. I Ahhidhana-caiidrikd.
By MiSra Bh'ima-sena,
Substance, country paper. 10^x4| inches. Folia, 42. Linens, 11
on a page. Extent in Slokas, 1,100. Character, Nagara. Dated, Sainvat
1740. Old. Fresh.
Complete in 51 leaves of which 16-20, 37, 47-49 are
missing.
It begins thus : —
V/
aflU’SI VK I
^itCW^niT WKT*r»lTlW
^?n«f^in=i n \
5^[^?:iirgji 5iOTmrTrt%5TTO%
See Ulwar 1225, Extr. 279.
( 325 )
It is more a dictionary of medical terms than any-
thing else.
Bhima-sena as a grammarian is quoted by Tlayar
mukuta and by Padma-nabha.
4705.
1252. I Sahda-kalpa-dru.
Otherwise, e, ailed I Kemva-nirghantu.
By Kesava.
Substance, country-made paper, lljx 5 inches. Folia, 113. Lines,
8 to 9 on a page. Extent in slokas, 2,825. Character, Nagara. Appear-
ance, very old and worn-out. Incomplete at the end.
For t \e beginning of the work see Burnell 48B and
Oxf. 189.
According to Burnell the author consults Katya,
Vacaspati, Vyadi, Bhaguri, Aniara, Mahgala, Suhasenika,
Mahesvara and others.
This is a copious, classified vocabulary, having 27
sections, divided into three kandas W, after the
fashion of Amara-kosa. It is a modern, but very rare
work, usually going by the name Kesava-nirghantu. (See
Infra,)
4705A.
6626. The Same,
By Kesava Vyasa.
Substance, country-made paper. 11^x5 inches. Folia, 167, Lines,
13 on a page. Extent in alokas, 4,200. Character, Nagara. Date, Saipvat
1721. Appearance, fresh. Complete.
See the previous number.
This is the author’s copy dated Sarpvat 1721.
( 326 )
The work ends ; —
’nJT HffTst: I
«3lTft»lT ^T^f^JTTSIT fttfewmtl! |l
(Common to every section.)
flmw! ftrfgg^ li
»5rt^: feirafr^ i
aftjVaf %i3%»rra= ^jnrfifT^ Tifigt: ii
ii
f^WWcI VTC^sifT^ ^T% '#^T?isftr% (?)
%Piia1 few: ii^j[?)
Post Colophon : —
fNff rr'JHW^waaiNg^jgt
^raftfsTsrrftptr %?r^5iT^»r si5^«!SiT«Hran3it i
-J
II ^rsgsRra! ii
W®rpra ^si ft’? 1
fnsgsw agiTTwf «
ftrfiscft I
ift#i5lT 8^0 e w II
sfXJTflTWT’lt ftiW I
UTf^g^tWftW’W ^’TT TT^fftflT! II
4706.
4766.
Nanartha-sabda-ko^ah .
Substance, Nepalese paper. 10^ x 3 inches. Folia, 111. Lines, 6, 6 on
a page. Character, Newari of the eighteenth century. Appearance, dis-
coloured and worm-eaten. Very nearly complete. Breaks off in the middle
of the Yijita-varga,
( 327 )
Beginning : —
JTfT^fgn^ft: fry ir^m: ii
«*tTiT9r srJT^»ji 9n© i
st2n?,*i9if ^fNt srr^ n
^“iHrnrer^tfh^ ^ i
9fmT^ ¥t^^ft ift^' II
m^rsrt ftii»nn^siTfT gff^ i
ii^r ('?) f ’^f^cT t T9!fTf^ I
4707.
3856. I Lyddyanta-kosah .
By Hrdaya.
Substance, Nepalese paper. 11 x 2^ inches. Folia, 80, the eight leaves
at the beginning have lost their leaf-marks by corrosion, being very much
damaged and worm-eaten. Then we got the leaves marked 11, 14 and 16,
then 18 to 80 of which 33, 36, 61 and 68, 76 are missing. Lines, 8 on a
page. Extent in §lokas, 19,000. Character, Newari of the seventeenth
century. Appearance, old, discoloured and worm-eaten. Incomplete both
ends.
Colophons : —
24 B, Tt%
wm: ; 29 B, 9115^91151^9:® ; 41 A, xf^ •
9WTK! ;
There is no colophon to the pumlinga-prakarana,
which ends in 47B after which we get the following : —
iSIBT: ^TCTWrr: 62 B, T^ff ® 4 -
WWI I
The manuscript conies abruptly to an end, while
dealing with the declension of the pronouns.
( 328 )
4708.
4833.
Substance, palm-leaf, ll|x2i inches. Folia, 1 to 66, of which the
following leaves are missing : 5, 7, 55, 68, 59, 62, 64 and 66. Character,
Maithila, Appearance, old and discoloured.
Written in two different hands, the first hand wrote
only up to 6A and the second the rest.
The manuscript contains neither the name of the
work nor that of the author. It gives different meanings
of words arranged in the main in the order of the initial
vowels and consonants and of the final consonants.
The object of the work : —
II
Then begins the work : —
?ni% i
w^inr^^sfT-5'^wrsrhft^^t' «
After the last colophon we have the well-
known verse of Bhavabhuti : % > 11 *? ’r:
etc., etc.
4709.
760. inwwr I
Sighra-bodhinl-nama-mala.
By Pun^arika Vitthala of the Karma^a Caste (?).
A metrical lexicon in four parts.
For the manuscript see L. 1678.
( 329 )
4709A,
562. I Pama4attva-prakamh.
By Venl-datta,
For the manuscript see L. 1436. The five tattvas are
the five elements.
The following verse gives the date of the work, which
Rajendra-lala thinks to be that of the copy of the man-
uscript : —
Tfef
U!«r3i: I
(1701)
HTg^T% II
The work was written at the request of the son of
Miramira ; —
42
LEXICON SPECIAL (EKAKSARADI-KOSA).
4710.
2535. I Anekartha-kosah,
By Mankha.
For the MS. and the work see L. No. 2584.
It is not anonymous as Rajendra-lala says. It is by
Mahkha. Rajendra-lala reads ^ but it is
Printed in Vienna, Edited by Theodore Zakaria, 1893
(page 379 A Supple. Catal. of Sans. Prak. and Pali MSS.).
4711.
1668A. I
A nekartha-dhvani-manjarl.
By Maha-Ksapamka.
Substance, country-made paper, lOJx 4 inches. Folia, 13. Lines, 6,
7 on a page. Extent in Slokas, 250. Character, Nagara. Appearance,
very old.
Leaves are injured in the left hand side. Attempts
have been pade by pasting ordinary papers to restore the
letters destroyed. Divided into three parts ; every alter-
nate letter of the colophons is intentionally omitted.
Colophons : —
7A, T[fa] »r[TTMTt]wW f^[T]f^[?r]
IIB, T[fH]
14A, T[fa] ^[^]rfl[?;T]^[^] w[TT]?j[tf]an[’f]f^[y]f<f[%]
( 331 )
Beginning of the first chapter : —
f ^ra^TsiT I
End of the first chapter : —
^i5: ^JuflsR «rt^n II
Second chapter begins : —
a!r| ?r®irei i
<TT?T^^ JZT91T% fvmiUTr^jl^fH®: h
It ends : —
VI vwt vn^JC jt«it i
%Jrt fsr^ ^ II
Third chapter begins : —
T:Tsn ^»(T 11^! 11^ wm?r i
HtiiT II
It ends : —
«r^<ifti9r«Ttvi«vsira (?) am i
^HHii *1331 w^vamf^rviJi ii
For reference see L. No. 1404, I.O. Oatal. No. 1029
and Burnell, page 50B. Printed in Benares (1868).
4711A.
9370. The Same.
Substance, country-made paper. 12x4| inches. Folia, 15. Lines,
8, 9 on a page. Extent in Slokas, 240. Character, Nagara. Appearanos,
tolerable. Complete.
( 332 )
A vocabulary of homonymous words and not of syno-
nymous as R. Mitter says (see Vol. IV, p. 28, No. 1404), it
is divided into the following sections: —
(1) Slokadhikara, treating of such words as take up a
full couplet in their different meanings, (2) Ardha-sloka-
dhikara, treating of words, the meanings of which take
half a couplet, (3) PMMhikara, treating of words, the
meanings of which take up a fourth of the couplet,
(4) Ekak.^ara-pada, which gives meanings of a single letter
which also take up a fourth of the couplet.
See I.O., Vol. II, pp. 290, 291.
The fourth docs not appear in LO.
It hegma : —
I
It ends : —
^ it* =5j! i
Colophon : —
WRTH I
wm* I
I.O. Catal. under No. 1030 describes another chapter,
the name of which is not given. It may be included in
the first Pada, called ^fNnfu^, as the words it treats of
take up one full couplet.
The MS. noticed by R. Mitter under No. 1404 gives
one more chapter named .
( 333 )
4712.
5291. I Ekahara-kosah .
By Purvtsotlama Deva,
Substance, country-made paper. 17^x3^ inches. Folium, one.
Lines, 13 in all. Character, Bengali of the eighteenth century. Appear-
ance, old and discoloured. Complete.
For the beginning .see I.O. Cata!. No. 1042 : —
s» S»
4713.
3944. The Same.
Substance, country .made paper 12|x3| inches. Folia, 3. Linos, 6
on n page*. Extent m glokas, 40. Character, Bengali of the eighteenth
century. Apjiearance, discoloured. Complete.
Oolopliofi : —
Tfa wJtmn i
See I.O. Catal. No. 1042. In the present MS. the
vowels come after the consonants.
The consonants begin : —
Voivels begin : —
4714.
9807. The Same.
Substance, country-made paper. 10 x 6 inches. Folium, one. Lines,.
8 on a page. Extent in slokas, 44. Character, Nagara. Date, Saipvat
1909. Appearance, old.
A vocabulary of words of one letter. It is well
known.
( 334 )
Beginning : —
'4‘ nif! I
+ + + II
I
V ftTcfmT! i
^ JTm^f «iTiis;! » TiUTf? i
Miraw ?fTfT^f^’n^»r ^8 '# i
4715.
9171. The Same.
Substance, country-made paper. 12x6^ inches. Folia, 2. Lines, 13
on a page. Extent in Slokas, 78. Character, Nagara. Appearance, tol-
•erable. Complete. Neatly written with on the loft hand margin.
It begins thus : —
^JTW?rra ’W! I
II V II
T^T?: ^ ii
in'?:: Blffi: ^TT> I
vj
^^n!t ^^JTTax n ^ n
stnrJTTm i
xrsRi?; || 8 H T(*nf^ I
s>
End : —
fT in^sflT I
TT%fix T* iwr«ra> II \i II
xftSiT f?' I
m- 'ejJTRT ^gjk^ ^ ■n ii n
( 335 )
^ cr«JT ITH! I
▼T»ftwit*tT^ ^ ii ii
3rfH^ *OTT^ 5V?f^i3 II H 11
Colophon : —
T^^firgj*- snnjnwT i i \ i tih ?:w
4716.
1668B. I Ekaksarahhidhanam.
Tt covers three leaves only.
For a description see 1.0. Catal. No. 1042.
4716A.
6888.
Ekakmra-nirnayah.
Substance, counlry-mado paper. 10x4} inches. Folia, 2. Lines, 11
on a page. Character, modern Nagara. Appearance, fresh. Complete.
Colophon : —
S-ffl II
The object of the work : —
’iTJftfVrvH II
Then it goes on : —
tR’gTTwfn ?nni?ira: u^rrsr (^0 n
It consists of 33 verses of the anustup metre ; —
E'nd : —
asftafiT^ ^ I
tlT ^WTftr JTt’SITi II
( 336 )
4717.
146. I Dvi-rupa-kosah.
By Purusottama Deva.
This manuscript has been noticed by Dr. Rajendra-
lala Mittra under No. 471.
4718.
5244. The Same.
Substance, conn try- made yellow paper. 15x3^ inches. Folia, 3.
Lines, 7 on a page. Character, Bengali of the nineteenth century. Ap-
pearance, discoloured. Complete.
A collection of words, spelt in two different ways.
For the beginning see L. 471 ; I.O. Catal. No. 1037, where
it is attributed to Purusottama Deva. But the present
manuscript differs from the I.O. MS. at the end.
It ends thus : —
i
^ s»
qnurd UTJtJfft II (?)
Colophon : —
Tft II
Post Colophon : —
^44 cf VfTJnJT I
4719.
3946. The Same.
Substance, country-mado paper. I5x3i inches. Folia, 4. Lines, 6
on a page. Extent in Slokas, 60. Character, Bengali of the eighteenth
century. Appearance, fresh. Complete.
Colophon : —
An anonymous Kosa of words of different spelling.
{ 337 )
Beginning : —
sffft ITSIVll^ I
^Tfji*4iij5n ii
ftnsplWTPirr i
JiTgiErm mg: ii
xjjsrw n»^?f axw f f^^pfpsjT I
^TfXTf ^Tixft ^xfix II
4720.
3815 . I
Nanartha’dhvanwnanjarl.
By Gada Simha,
Siibstance, country-mado pap<>r. 14Jx3 inches. FoJia, 8, Lines, 6
on a page. Extent in si okas, 105, Character, Bengali of the eighteenth
century. Apjpearanco, fresh. Complete.
Colophon : —
TftX I
Post Colophon : —
WJXI^T I
It ends : —
jn>tT4x^fHww^^'«»»rf«fTtn 'X’Cfnr^ n
4721.
3894 .
Substance, country-made paper. I5jx3 inches. Folia, 7. Lines, 6
on a page. Character, Bengali of the eighteenth century. Appearance,
discoloured.
43
( 338 )
The MS. contains (1) ending in 3A, and (2)
See I.O. Catal. No. 1042, where the first work is stated
to be by Purusottama Deva.
The present MS. begins with 'i?, leaving out the vowels.
Then follows Anekiirtha-manjari which begins : —
Tf ftfRcTITT I
ii
stiTf iriftnm I
ai aa khtw’? aig ii
faia HR fsia; »>h: fir^T fsraiHvi i
f?ra: fsfRT ailif HRR'TH^iaif f?i[ ax J ii
j^ff fttafsniT iftd^ax nax i
Hixau^ai ^ ««x II
It ends thus : —
A
vcx^ faxrfaia Hxa HrgsnfaasTXirH i
Higa Hffifaw 1 “R J g^Hx^^ Rwx5t% i
<re?RX?t [ 'n ] hxhx^ irgfa Hfiwx’RHt: (?) ii
Colophon : —
TW^XRXiH^^ff HHXHX I
It differs from I.O. Catal. No. 1032.
4722.
335 1 -3353 A. Contains four works.
Substance, country-mado paper. 19 x4| inches. Folia, 23. Lines, 5
on a page. Character, Bengali of the nineteenth century, Appearance,
fresh.
1. ending in 3B.
( 339 )
It begins : —
?fJrH3lTtT! ^T?T9RTC! fTTcTTflTf! I
laRTC ^Uft II
^rST^: BTa 5i=gEi I
It ends in the first line of 3B : —
?Ii: PTWt 9l5^T?r^ I
"n fli! W5^gW?T% II
(lolo'phon : —
««TK: I
This is not by Purusottama ; for his work see Oatal.
4728.
4722A.
II. Anekartha-dhvani-manjari begins at 3J5, and goes
to the end of the MS.
4723.
III. A homonymous dictionary, ascribed sometimes
to Durga-Siiuha, sometimes to Gada-Simha, here to the
latter.
It begins in the second line of 3B of the bundle marked
3351 to 63.
Colophon in the third line of lOA : —
yf(T ?r??THT I
See I.O. Catal. No. 1032, Oxf. 194A.
4724.
TV. I Nanartha-rabimn.
By Sn-rmtha,
It begins in the fourth line of lOA of the bundle
marked from 3351 to 53 A, and ends in the first line of 18B
of the same bundle.
A homonymous dictionary.
( 340 )
It begins : —
wnr
faiff^^«?Rr<T5itTi5t^^'??BgwT! I
gsf^! ^1%
STTSimtlfTiT ^IJTTWt^ I
stTsn^ f?E% E?’ II
msrl^ irftgfji: cR^i n i
^TTf3fm(?) ?rai: g?T n
»T%Er^ (?) I
^^TT 5f^ W% WElft:: II
*1X^1^! Bnm’rftsn I
%?li«i H*i^= Ths^fu II
?m*Ei5ff^ ffHjft SI ftrijiii i
%siT tfw ?ift% %!??▼ n
wsfrimfEEi*^ f? I
i^fTrlTf^SJiR^^ Itaif^T 'S’tmsgsn II
^n«Tt ira% ^T% sr^T'sarTmf’i ii
h ends : —
5lWTT^:5f^ I
^ ?rTT% ii=8ji ^cf ■? B
Colophon : -
E^ STRT^Ea mnK*J 1
( :ui )
4725.
3353B. I Dvi-rupa-komh.
By Purusottama Deva.
It begins in the first line of 18B of the bundle marked
;1351 to 53, and goes to the end of the bundle.
Colophon : —
jfy WTH: 1
A vocabulary of words, spelled in two dilTerent ways.
See 1.0. Catal. No. 1037.
4726.
S020. I Aldicsara-Jcosah.
By Bhdskara P audita,
SubstaiKte, coiintry-iiuide paper. 15x4 inches. J^^olia, 2. Lines, 0 on
a page. Extent in Blokas, 40. Character, Bengali of the eighteenth cen-
tury. Appenrnnee, old and discoloured. ComplcU^,
Beginning : — ^
'4‘ surt II
w- TTirnTfensf^! «ift i
) wh^ttcT! ^ ii
Colophon : —
4726A.
6859. I Kriya-koSah.
By Ttarna-candra, son of Visva-natha, disciple of
Krsrm Pandita.
Substance, country-made paper. 9Jx4| inches. Folia, 6. Lines, 10
on a page. Character, modern Nagara. Appearance, fresh. Incomplete,
( 342 )
This gives the meanings of the roots, which are
classified according to their imports— apparently a very
modern work. Aufrecht in his Cat. Cat. Ill mentions
Kriya-kosa as an abridgment of Bhattarnalla’s Akhyata-
candrika, by Rama-candra, son of Visva-iiatha. The
present MS. is incomplete and the author’s name is not
given.
The mahgalacarana and the object of the work : —
’ll II I |1
d
WT
II
Then it goes on : —
^f=?rRnJTf% I
^ II
2A, Tf^ (13 verses), 3B, ^fcr (29 verses),
5A, (26 verses).
Of the next varga, which is left incomplete, we have
five verses only.
4726B.
6880. The Same,
Substance, country-made paper. 10x5 inches. Folia, 10, of which
the ninth is missing. Lines, 13 on a page. Extent in slokas, 260.
Character, modern Nagara. Appearance, fresh.
For the beginnings and the colophons of the first few
vargas, see the previous number.
5A, Tfs 8 (28 verses and a half) ; Tfs 81^-
4 ^ (8 verses) ; 6B, itfer i (34 verses) ; 7A,
Tfff (24 verses) ; (of the next vargas we have
1-47 verses. The colophon and the beginning of the
following varga, are not in the MS., 1—23 verses being lost
( 343 )
ill the missing leaf); lOA, TftT (24-28 verses);
lOB, vfa (13 verses).
The eonclucling verses; —
5 rVTtT 5 t;T I
sTOifq fiR?r n \ i
SfcTTIT I
ijsfTjprfcf) ^IcT^ fn?; II
( ’olo'phon : —
^TJTTTrtlT fsB^TJ^W: I
ffs far'5irT'8Tii:g-i;m'#*;r^cf'n% ftra’Tqft^ ii
47260,
717 ). The Same.
Sub, stance, country-niado jiapor. 10} x 6 inches. Folia, 11. Lines,
12 on a page. Character, modern Nagara. Appearance, fresh.
hjast Colophon : —
Tfil f^>5^r'!T«g^t»r=9*[f^rfiiTr faR^rx^tft ^«xtx: y
For the work .see the previous number.
In the present manuscript tlie first kanda ends with
Sabda-kriya-varga.
SPELLING BOOKS.
4727.
5049. A collection of words containing the letters “ ”
“ If ” “ ”, attributed to Puriisottama Deva.
Substanco, country- mado paper. 13.^ x 3 inchos. Folia, 4. Lines, 7
on a page. Rxtorit in slokas, 80. Character, Bengali of the early nine-
teenth century. Appearance, fresh. Complete.
Colophon :
Tfa T)I ^ I
See 1.0. Catal. 1033.
4728.
3381.
Substance, country-made paper. 15x3 inches. Folia, 18. Lines, 0
on a page. Character, Bengali of the eighteenth century. Appearance,
faded.
Contains a number of school-books.
I. I
Incomplete in the beginning.
II. I
By Gada Sihha, in four chapters.
5A, Tfa «wnni i
The number of verses is 49.
6A, RWTHW I
Complete in 17 verses.
8B, xfir i
R it fae fl i •
( 345 )
t 1% fwmn i
8B, Tft irfftnrfrcfim T4iK4!^si xrsrmw i
In two verses.
12B, TW^pt^«<T I
w ♦!<(*< ihf «<4i(i»r t
Complete in 74 verses.
III. ?f^?;f*riil^: I
15A, Tftf <Bwm! i
Complete in 36 verses.
IV.
15B, rfir ^rimr: i
V. i
18B, xf^ «mw: I
See I.O. Catal. No. 1038.
4729.
8749. | Sabda’bheda-prakasah.
By Mahesvara.
Substance, country paper. 10x5 inches. Folia, 6. Lines, 11 on a
page. Extent in §lokaa, 125. Character, Nagara. Now. Complete.
A spelling-book.
See No. 429 Oxf.
4730.
4623.
Substance, country-made paper, 14^x3 inches. Folia, 3. Lines, 7.
on a page. Extent in Slokas, 50. Character, Bengali of the eighteenth
century Appearance, fair. Complete.
44
( 346 )
A spollinj- hook by Yadavendra.
The mangalacarana and the object of the work:—
JrfcIJmf I
2B, rfcT misrara^KSfi^fiifl, Tfaiji:*) ; 3A, rfk
; 3B, ?rjmin i
It ends thus : —
suffli ftr^iii -nrt f^arNwi i
jcfntf fsisr uw It
4731.
4605.
SubHkiiice, country-inaflo ]m]H‘r. 10.\x3j inohc^K. Folia, 07 to 100
Lines, 0 on a pagf\ (Jharactor, modern Bengali. Appearance, fresh.
I.
Words witli Talavya s.
Ends iv leaf 97 B : —
Tfai maramrsiiTr^: i
Beginning : —
wdi frora ?frt^4vr!, etc., etc.
II.
Word.s with Murdhanya s.
Ends in 98A : —
xfs i
III.
ending in 98 B.
( 347 )
IV.
This portion ends in 99B. It is a collection of
words spelled in two different ways, and agrees, in the
beginning, with Dvi nipa-kosa, ascribed to Purusottama
Deva (1.0. Catal. No. 1037 and our Gatal. 4725).
It mds : —
^ ?:»fl Hcf! I
There is no colophon.
V.
Tlien three lines with tlie colophon : —
Tfa WTIK! I
VI.
Then by I’urusottama Deva, here beginning
with tlie first consonant The vowels come after the
consonants.
Colophon ; —
(in lOOB).
VII.
Then the beginning of WTK^cnfirsrpnT in two lines and
a half.
' 4 ' ’tjfl ^riiricnr i
«TC^tfTftTVT5p^ I
jffiisphf II, etc.
4732 .
111. 11^ I Jakara-bheddfi (?).
This MS. has been noticed by Raiendra-lala under
No. 915.
( 348 )
A spelling book, designed to point out what words
have the letter ht, and what words ir, what words have
the letter and what the letter Jor, and what words have
the letter By Puru^ottama, apparently a Bengali, who
pronounces those letters, just as Bengalis do.
Rajendra-lala gives the title of the book as
which is only the name of a chapter. What its name
really is cannot be ascertained, as the first leaf is missing.
Post Colophon Statement : —
\ii\ I
4732A.
7123. I Nighanin-samayali,
By Dhanahjaya,
Substance, country-made paper, 10x6 inches. Folia, IG. Lines, 10
on a page. Character, Jaina Nagara. Date, Samvat 1897. Appearance,
fresh. To the end of the second chapter.
A book of synonyms ; the author is a Jaina.
Beginning : —
w: I
'#> ftrw! t
« ninfiT i
gwpfm I
vi ijjm ^ i
/gwi ^ w w in? Wh i ^ «
{ 349 )
Colophons : —
I.
13A, Tfa ’ir*a3!N?tmi^jift(w) >tTw
g«HT! nfc^i H
Post. Colophon : —
rrf*? «rrfJB ^ ® rwjn^
HJTw^T?: irw I ^tjasTni i
n.
• «rrm: n
Post Colophon : —
?f^fT <’=«.« ?TI fiRfi? ® Hjp5i RT^;
^ ^ s»
HirsHTTi:: 1%f«5cf + + + + (A name blurred
over with ink.) q3«i™ qrw ww ’^Ir^
II
OHANDAS OR METRE.
4733.
9669. I Bruta-hodhah.
By Kdlidam.
Siibstanco, country-inado paper. 14x(5j inchon. Folia, 0. Lines, 5
on a page. Fxteni in Slokas, 72. Character, Nagara. Appearance, toler-
able. Complete.
4734.
4451. The Same.
Substance, country-made paper. 2Ux4 inches. Folia, 4. Lines, 5
on a page. Character, Bengali of the nineteenth century. Appearance,
fresh. Complete.
4735.
9194. The Same.
Substance, country-made paper. 12x7 inches. Folia. 2. Linc.s, 15
on a page. Extent in slokas, 06. Character, Nagara. Appearance, old.
Complete.
A well-known work.
4736,
8359. The Same.
Substance, country-made paper. x 4^ inches. Folia, 4. Lines, 8
on a page. Character, Nagara. Date, Samvat 1899. Appearance, fresh.
Complete.
Colophon : —
Post Colophon : —
I
^ «T% ftm I
+ + + + + + f«fsprtit n
( 361 )
4737 .
7786. The Same.
Substance, country-niado paper. 10 x 4£ inches. Folia, 5. Lines, 9
on a page. Character, Jaiiia Nagara. Date, Samvat 1890. Appearance,
freali. Coin[)lete.
Colophon :
Post Colophon : —
\o H II II ^T^-
I
4738 .
5r)76E. The Same.
Substance, palrn-leaf. 15 x 1^ inches. Folia, 5 by counting. Lines, 3
on a page. Character, Uciiya of the early nineteenth century. Appear-
ance, fresh. Complete.
4739 .
5086A. The Same.
Subst ance, country-made paper. 17 x 34 inches. Folia, 101 to 103.
Lines, 0 on a page. Character, Bengali. Date, Saka 1098. Appearance,
old and discoloured. Complete.
In lOlA, line 7, we have the following colophon : —
Tf?! ?rn;«aTfif!n»i i
Then begins Kalidasa’s Sruta-bodha.
Colophon : —
flJTTK! I
( 352 )
Post Colophon Statement : —
^ujmr I
4740 ,
4691. The Same.
Substance, country-made paper. 14x2^ inches. Folia, 3. Lines, 9
on a page. Character, Bengali of the nineteenth century. Appearance,
discoloured. Complete.
There is one stray leaf in the manuscript.
4741 .
9146. The Same.
With the commentary hy Mano-hara Barman.
Substance, country-made paper. 12 inches. Folia, C. Lines,
14 on a page. Appearance, tolerable. In tripatha form.
The text is well known and often printed.
For the commentary see L. 1715.
4742 .
8358. I Sruta-bodhah.
Here attributed to Vararuci,
Substance, country-made paper. 10 J x inches. Folia, 6. Lines, 0
on a page. Character, Nagara. Date, Sarnvat 1793. Appearance, old.
Complete.
Colophon : —
«rm irfwmH i
{ 363 )
Post Colophon : —
^ ^
n 11
Beginning : —
ing TfT ^^T<i(T%55<ITft<dT h
etc., etc.
4743.
1303.
Chhandon usasanam.
With Vrtti.
Both hy Hema Chandra Suri.
Substance, country-made paper. 11x5^ inches. Folia, 176. Lines,
9 on a page. Extent in slokas, 3,160. Date, Samvat 1910. Complete
in eight chapters.
A comprehensive work on metre.
See W. 1709, and Auf. Cat. Cat. Vol. I.
it begins : —
Commentary : —
w: I «rT! I
W5^?rT?RHTfinra«rT*r:
Text : —
^ ■KnwTTtrt ffrs?ts^^i?T5rr§w:T?R: i
It ends : —
tv V ir
46
( 354 )
I
Colophon : —
wrrrf^^^nw^ *1 n ^ ii
XT^ I
^«l.<td. I
Post Colophon : —
«ran ^ i
4744.
I486, ^|»f^^ ^ ^^^ I Prakrta-pingalmn .
Substance, country-made paper. lOfxSJ inches. Folia, 32. Lines,
10 on a page. Character, Nagara. Date, Saipvat 1872. Appearance,
fresh Complete.
Post Colophon StMtement :—
W » I ?T5fcr ^BT Sft
a;sj 'Co. I
4745.
1370. The Same.
Substance, country-made paper. 12 x5i inches. Folia, 16. Lines, 9
on a page. Character, modern Deva Nagara. Date, Samvat 1910. Ap-
pearance, fresh. The text only to the end of the Mattra-vrtta.
Printed with a commentary in Bibl. Ind. by Candra-
mohana Ghosh.
Post Colophon Statement : —
qrot: «WTB! I >PT ^ II
W! I
( 355 )
4746.
793. Prakrta-pingalam
Substance, country -made paper. 15 inches. Folia, 30. Lines, (
on a page. Extent in Slokas, 720. Character, Bengali. Appearance, old,
Complete.
The last page is completely effaced.
Often printed with many commentaries.
4747.
792. I Pingala-tlka,
By Varnanacarya Sdrva-bhauma.
For the manuscript see L. 1608.
Rajendralala is wrong in saying that it is a comment
ary on the aphorisms of Pingala on the Sanskrit metres
It is really a commentary on the Prakrta-pihgala. Th(
commentator, at the last verse, says that Pihgala’s worl
on the Prakrta metres is a succint one, and refers to hii
own work Prakrta-candrika for details on the subject
The first pratika quoted is ^ the second i
4748.
3443. or I
Pingala-chhandah-suttram or Prdkrta-pingalam,
With the commentary entitled Vidvan-mano-ramd by
Vidyananda Mwra of Kdmarupa.
Substance, country-made paper. 13^x21 inches. Folia, 39. Ir
tripatha form. Character, Bengali. Date, Saka 1732. Appearance, fresh
Complete.
( 356 )
The commentary begins : —
^*tW8IIW W! «
HTn^w^ '5 ?:t Kfuft i
SRfkfif ^ ^siTmcr H trm ?*nTi i
SJ
fiiWTr fa^mn:nitm ii
tir ^ iiTOTfsravc(c(?^ ftfW?? i 9it i
It ends thus : —
it3?»n»5awifTft? I
Colophon : —
fuTw^Nfret «Hm: I
Post Colophon : —
4749.
5741. fwwrrlwft!^ I Pin gal a -sdra-vi kdsin I .
By Ravi Misra,
With the text.
Substance, country-made paper. Hx7J inches. Folia, 43. In
tripft^ha form. Character, Nagara of the nineteenth century. Appear-
ance, fresh. Complete.
For the commentary see I.O. Catal. No. 1110.
The present MS. gives the name of the author’s
grandfather as Candesa and not Dhandesa as in the
extract of the I.O. Catalogue.
( 367 )
4750 .
5840.
Pingalartha-pradl pah.
A com/mentary on the Frdkrta-pingala, by Laksmhiatha, son
of Bay a Bhatta^ son of N dray ana Bhatta, son of Rdma-'
coMdra. Bhatta,
With the text.
Substance, country-mado paper. 9ix4| inches. Folia, 55, Lines, 9,
10 on a page. Character, Nagara of the eighteenth century. Appearance,
old and discoloured. Incomplete at the end.
The commentary begins : —
^ srifii cifSRf) n
ir%aff<T ^151% I
fnt ftne ii
’skT^wfsniTTt w!#iT«i! ?rg«?raj^w: i
fqfwjifinw >
( 358 )
5sr?f^:
^HUTW^vnt: 1
^ »rcT»ts^»tiT^rt®t
■'w^cf »Tg«ffm(m)a!rt<j ii
^ ^nr >nfq w «t«ht i
act ’i[T]i?rcTmT^^ ^w- II
?! ^5^! ^p^irf^isrt^ i
wr: TOH II
uanw iraisRfwtrfwat w*^:9n«i+ + +fiTi'w»nJtTgwJH-
w'^rw wfwflmf??
sftW^l mi «n«B?:in»; mrt, etc,, etc.
The commentary was composed in 1600 and quoted
in Vrtta-ratnakaradarsa.
See Aiifreclit Cat. Cat., Vol. I.
4751.
8708. I Pingala-prak&Sa.
By Vamsldham, son, of Krsna.
Substance, country paper. 12x6 inches. Folia, 36. Lines, 16 on
a page. In tripfitba form. Character, Nagara. Date, Saipvat 1877,
Fresh. Incomplete.
In leaf 36 the colophon runs thus : —
Tfn »rT*n BSRtrf wni i
( 359 )
4751A.
10099. I Sanjlvcinl,
Being a commentary on Pingala^chhanda,
By Halayudha.
Substance, country-made paper. 9^x4]^ inches. Folia, 66. Lines,
0 on a page. Character, Nagara of the nineteenth century. Appearance,
Id. Complete.
Last Colophon : —
w^aTJTJiT^ i
Post Colophon ; —
V I jIT t ret >Z«TajT: TW faara: I
aiTTaiP’5rpgJ3TftifS^f«ta»i»iflidMig«la(T)# i
f'i’ivfl Viji i
aarat «
'a
An edition of the text, with Halayudha s commen-
tary, has been published in the Bibliotheca Indica^ by
Visva-natha Sastrin (1871-4),
4752.
5719. I Vrtla-mauklikam.
By Candra-Sekhara, son of Laksml-natha Bhatia.
Substance, country-made paper. 9Jx4l inches. Folia, 62-1-204.
Lines, 8 on a page. Extent in Slokas, 6,000. Character. Nftgara of the
early nineteenth century. Appearance, discoloured. Complete.
( 360 )
Beginning
sijt: I sm: i
finr'fisi fsRrrft ?ft{ ?nif
ttN i
wfcf ’’I
^fa’a[isfi'’?T5fiJT»r?tTnTns^!^ ii
^■J
jrfd^^JirnS i
«renniT^T^^fq^T:in&^^fcT5TT
?TfhTTfiT^f T\^ TT II
^ft^RRT wmwfi\^fw> i
jfN^^uvr: n
^€T: TiJm 9if%^ 1
Hwg II
^ 5n*TTftTiJnTrywncf muii. i
^ fr *it3t: ws[T^ n
^T^Trft ^T I
^ 33 : 15 ; v:immi 11
A Sanskrit treatise on Prakrta metres being based on
the Prakrta-chandah suttra of Pihgala. As a matter of
fact, it is only a metrical paraphrase of Pingala^s rules,
in Sanskrit. The examples in illustration of the rules are
also in Sanskrit. It is called a Vartika to Pingala’s work.
I.O. Catal. 1114 describes only the first part of the
work. Here in the present manuscript we have both the
parts, each separately paged. Part I is complete in 62
leaves and Part II in 204 leaves.
( 361 )
Date of the composition of the first part : —
JTT^ n II
Colophon to the first part : —
fTt?r
xrfr^s I W«TH^T*r ^f^<RTj40JB: I
Part 11 begins thus : —
'sfSTJTi gram twt-
=^trjrg rtsi: ii
^ W* fJOTI I
mm€'BT=BSRT «rtg^a: TJlftsjprftllctTfsf I
ar«r ^irsT^fpi fissa: «
It ends thus : —
'ai^ JT^?i TtsefjTtjg^UTJT b
202A, rsJii^'^Tftr rmfattTiT i
^T^'llftraaROi II
jn^^[g(5T^] ?r?T ii «
202B, «tn?Hw%5gf^g
flwjwaTHimg ii
Ov ^
46
( 362 )
WTWRt
^«i'^ trai g?T ii
Date of the composition of the work : —
= V.S. 1676.
= 1620 i»D.
ftra^wf^sfiPT ^fiS% ^jniTT^t I
Tnw*rlf^^> «fhiTgwf?T ftia^ I
^ranwTJmiTKit n
ft? ft?^iifl
ft5?T I
ft’^m? lift ?rra
?r fr it
ijftti
Colophon : —
T<*rwii’Tft^-'nR^^*Tftr-^:?rrenT??Tr?TO-?>?™t?-
^Wfft?ftr%
1
"EWTH^IT? ?Tf^% ft^! I
^IHTTrftft ^<It( 41(!|1^ ?TJf ftf«l?T^?!« 1
From tbe concluding verses, it appears that the
author died, leaving the work incomplete and it was bis
father who completed and published the work.
( 363 )
4753 .
9662. I Vrtla-ratnakarah.
By Ktdara Bhatia.
Substance, country-made paper. 6^x14^ inches. Folia, 6. Lines,
11 on a page. Extent in slokas, 171. Character, Nagara. Appearance,
old. Complete.
4754 .
9661. The Same.
Substance, country-made paper. 12^x5 inches. Folia, 13. Lines, 4
on a page. Extent in slokas, 130 Character, Nagara. Appearance,
tolerable. Complete.
4755 .
7776. The Same.
Substance, country-made paper. 10|x5 inches. Folia, 13. Lines, 7
on a page. Character, modern Jaina Nagara. Appearance, fresh. Com-
plete.
Colophon : —
Well known and often printed.
4756 .
2167. The Same.
Substance, country-made yellow paper. 9ix4J inches. Folia, 7.
Lines, 10 on a page. Character, Nagara of the nineteenth century. Ap-
pearance, fresh. Complete.
4757 .
10304. A commentary on the same, entitled Sugama-vrtti.
By Samaya Sundara.
Substance, country-made paper. 10}-x4 inches. Folia, 14, of whiol
the 10th, 12th and 13th are missing. Lines, 20 on a page. Extent ii
dokas, 1,200. Character, N&gara. Date, Samvat 1779. Appearanoe, old
( 364 )
Colophon : —
f^arai Sinr^^ ^swnf: i
15 ^: ^ + + + + +
ir^swnr: i
Post Colophon : —
JiTtntt HTftf ftr^ rmtirrraixnir
vrnrrjst^fBjcT fvr^rm ii
The text by Kedara Bhatta is well known.
The commentary begins : —
5ih; II
iiT’sisiT^i f^»i siwi irfw! i
wsiT II
rfnfl I
*T^fi»eJTOT 5IT^T ftvV!r?r II
^T[’sn] ^ ^ f?M>wrls^w I etc., etc.
It ends : —
^TiSITSR^ ^ Jrfin: I
^ftsmnrfrji^sw T^fNin ii t, ii
Trtt fw5hi: im^flswrci II II
inf^! iCTi «fn -n^BUf; i
ii « H
^5 aftf^ *T^’?1 3j?! wwftfi a i
fiwt% w^pt f%s<^ fftnrrfl ^ ii i. #
( 365 )
4758.
I Vrtta-rattmkara-tiM,
By Nardyunn Bhaila.
Subataiice, country made paper. 11x5 inches. Folia, 24, Lines, 21
on a page. Extent in Slokas, 1,600 as given at the lend of the MS. Date,
Saka 1752. Appearance, discoloured. Complete.
! )atc of the composition of the work : —
(\<<>=^) ?rf*T% f«Hir I
Sail) vat 1602 =
Colophon : —
?WTHT I
Post Colophon : —
(1752) ^ jtt% g fctit ^ i
srnfHftx fqx: sr^Tfr ^ g% ii
For a description of the commentary see 1,0. CataL
No. 1094 and Oxf. 1555. The commentary was com-
posed in 1645 A.D,
The genealogy of the author’s family : —
(1) Naganatha.
(2) Angadeva.
(3) Govinda.
(4) Ramesvara.
(5) Narayana.
The present MS. reads the first name distinctly as
Naganatha and not Nagapasa as in the I.O. MS. and not
Naganabha as in the Oxf. MS.
( 366 )
4759 .
5809. 1[TOIT I
V rlta-ratndkara-tika entitled S'lidhd.
By Cintu-mani Daivajna.
W ith the. text.
Substance, country* made paper. 9 xGJ inches. Bound in book form.
Folia, 27. Lines, 22 on a page. Extent in slokas, 900. Character,
N&gara. Date, Saravat 1805. Appearance, soiled. Complete.
The commentary was written in Saka 1559=1637 A,D.
Beginning : —
WTftt jfK'hr^^wsrrsRJT II
afinijw
iisjfRr %?Ttn4n JiruJiit Wsreftt^t'^trrgfwa-
M
etc., etc.
It ends : — ^
( 367 )
?n (w-) (?) i
^ruTT^^i^
jifwcjTun^! II
was^tfenfTJiW'??: I
»jjfhff^cm!rT»5is^^5»Sfi
sftw- II
«fTf5'irTJBWlITt;jft ^mfsif^: ftr5T5fl%flT I
iftJTWT ^^^U^T^?:wfTO|V'SjH’fIT«fro:
wjtfci’5fsfa:5cW®^tH« B«T?;fn5fimfin! g
ft«ntK^7nsf ftftpRT
^uns: i
V*
fn^iJTfin: ftraf^amsinct^ «c«-
KSIT^K^ II
^0% ' wTJivfhiftJtt’iTKTnili
tranjf^saa-ma: + + + mnnm g (?)
Colophon ; —
Tf^
f^TSfnwftlftrtflltlT STIWSBr^taRT ^T»rT^ ?WTfH-
JTIW?|[ II
Post Colophon : —
firfnfam w wn^^t^s g
{ 368 )
4760.
10900. I Vrtla-ratnakara-setuh.
Vrtta-ratnakara-setuh (a cmnmentary on Vrtta-ratndkara).
By Hari Bhaskara.
With the text.
Substaiico, country-made paper. 12x0 inches. Folia, 20. In tri
pa^ha form. Character, Nagara of the nineteenth century. Appearance,
fresh. Complete.
Written in A.T). 1876 at Benares.
Colophon : —
^fJXTHs i
See L. 712, W., p. 225, Oxf. 198A.
4760 A.
9011. The Same.
Substance, country paper. 10x4 inches. Folia, 41, Lines, 10 on a
page. Extent in Slokas, 800. Character, Nagara. Date, Samvat 1881.
Fresh.
Complete in 41 leaves, of which the first is missipg.
Dated Samvat 1881.
See L. 712.
4761.
10338. The Same.
(Commentary only.)
Substance, country -made paper. 9^x4^ inches. Folia, 37, Lines, 8,
9 on a page. Extent in Slokas, 576. Character, Nagara. Date, Samvat
1806, Appearance, fresh. Complete.
The time of the composition of the commentary : —
(1732) ^ i
«jnr?f! nfaxiftir «WTfw «
( 369 )
Colophon : —
tfcT
^rrncsiT*
^ %3* WTfHWMc} I
The genealogy is given as follows -
36B, |i^f*T(T)fH^y^TcT i
^[11^ I ^ I
^%crt 5^1: I
fT^3r5Rfiir4irfiT-;5R i ^ |
5RR^Tnt 1
^TifhihrTf^Tr^
^?TR T?Tf^^: ir^^^sT^cr: I ^ |
^g HTW^iP^qiT mx 51 TRt TT^IT I
Post Colophon : —
ftrftrcTftR i
I
Already noticed.
4762 .
9395. The Same with the text.
Substance, country-made paper. 10x6^ inches. Folia, 26. Lines,
14 on a page. Tripatha form. Character, Nagara. Appearance, old.
Complete.
47
( 370 )
The text by Kedara Bhatta is well known, and has
been printed several times in Calcutta. For the com-
mentary see L., Vol. II, p. 126, No. 712.
Leaves from 22 to 25 seems to have been restored.
4763.
5841. I Vrlta-nitmkaradarmh.
A commentary on Kediira’s V riia-ratnakara hy Divakara
Bhatta, son of Mahadeva Bhatta and gra/ndson of
Bharadvaja Bdlakrsna Bhatta.
Substance, country-made paper. 10x5 inches. Folia, 2 to 69 with
the 16th missing. Lines, 13 on a page. Character, Nagara of the early
nineteenth century. Appearance, discoloured. Incomplete both ends.
The first and the last colophons in the incomplete
manuscript are : —
13 A, Tfer
46A, WTt;BTsr3f%
^ Si
See I.O. Catal. No. 1095.
The date of the composition of the commentary is
given in the following verse in the I.O. Catalogue
tnfhr^ wi ii
The date is Sainvat 1740=1684 A.D.
( 371 )
4764 .
5858. I
Bhavartha-dlpikay a commeMary on V rttar at ridkar a.
By Janardana.
Subatanco, country- made paper. 11x5 inches. Folia, 2 to 43,
The first leaf is inissiug. Lines, 1) on a page. Extent in slokas, 1,000,
Character, Nagara of the nineteentii contiu’y. Appearance, old.
ll ends thus : -
WR?T II
Colophon :
SETSRTKT HT^T^ftfWTf»?VT «=fHL I
4765 .
5076. I Chando-mahjarl.
Substance, country*made paper. 16^ X 3J inches. Folia, 21. Lines.
0 on a page. Character, Bengali. Date, Saka 1718. Appearance, fre.sh.
Complete.
Golophon : —
Xfii ’IIW I
Tfir jftnT^?TO»rn^T?Tt’r ^wim i
Post Colophon hHutemenl : —
wg ifNrw ^ iwnilw I
si»n»5Ri ii
JTifT ^ i
MiBit! vi vrwT n
{ 372 )
I ftiftTs 4 ^Tsrar i
iT^T i ’^t3Tf?:?T?r
I ^sr fw%cft TJSl!, etc., etc.
4766 .
10835. The Same.
Substance, country-made paper. 16 x2i inches. Folia, 24. Lines, 5
on a page. Character, Bengali. Date, f?aka 1576. Appearance, dis-
coloured. The 7 th leaf is missing.
Last Colophov : -
?T3RTHT I
Post dolophon
-# surt II II wriejT^’ t hit
?rf*r5T?: ^ + ftTTHnr?>rTT-
SI
IITTHI «Hm II H^Tsa^T! II H!T
HTH II Tfs II
4767 .
10806. The Same.
Substance, country-made paper. 16x3J inches. Folia, 19. Lines, 6
on a page. Character, Bengali. Date, ^^aka 1642. Appearance, dis-
coloured. Complete.
Colophon : —
HHTKT I
Post Colophon : —
H»r«a! (perhaps 1126)
•lufii, etc.
( 373 )
fn<il ufcT!
f^fecf aR%! 55^3^*: I
’3n« 3513^^3 mftr Hg% 3n%
5rg%?r3i5tTf^% ^!St%siT II
«K!S«i^ir’^^ ^ 3iT%3[^ I
f^?tfi5R fjf’stmare ^wanirfinsfi ii
4768.
470^. The, tinme. -
Substance, country-made paper. 10^ x 4 inches. Folia, 23. Linen, 6
on a page. Character, Bengali of the early nineteenth century. Appear-
ance, fresh. Complete.
4769.
4613. The Same.
Substance, country-made paper. 14^x3 inches. Folia, 32. Lines,
6 on a page. Character, Bengali. Date, Saka 1744. Appearance, fresh.
Complete.
Post Colophon ;-
w% ( t^aau )
)f3'^ «WH! I
4770.
3739. The Same.
Substance, country -made paper. 16 xS^ inches. Folia, 31. Lines, 6
on a page. Character, Bengali. Date, Saka 1686. Appearance, fresh
Complete.
Colophon : —
Tfir »im i
Post Colophon : —
^nrin w i
( 374 )
It ends : —
%^5T fT fTcT II
Win ?rgs^5m|^grT^HaiTii^:
%5TT^i: a^’na^ 'flfici «i!T^ i
JTf l?maR%: ^ f (jf^nt It
Often noticed and often printed.
4771.
407. The Same.
Substance, country-inado paper. 13j|x2J inches. Folia, 23. Ijines,
6 on a page. Character, Bengali. Appearance, old. Date, Saka 1641,
Complete.
Post Colophon ; -
W% ^fqamifTaaTiTr&’n^fi^i fna
tfT^ ir?t f*T^^ I
■* -*
art faanfa^ =t antei;:
N*
?rif|fa^ f5i%i? «iTgfircrtir ii
4771A.
410. The Same.
Substance, country-made paper. 9Jx6 inches. Folia, 24^ Lines, 26
on a page. Extent in Slokas, 760. Character, N&gara.
A MS. stiched on the left hand side and written
breadthwise contains two MSS. (1) Chando-mahjarl by
Ganga-dasa Kavi coming to an end in 15A. (2) Anekartha-
manjarl by Mahak^apanaka of Kasmira ending in 23R
The latter work is noticed in L. 1404.
( 375 )
4772.
2406. I Chmdo-manjari (Vedic).
Substance, country-made paper. 7|x3J inches. Folia, 2. Lines, 12
on a page. Extent in Slokas, 60. Character, Nagara of the eighteenth
century. Appearance, discoloured. Complete.
For the work see L. 877. It is a short treatise on
seven Vedic Metres, dealing in detail with Atijagati-
chandah wftf, 58(1^,
i
lA, JTT^^ ; lA,
IB, IB, 2A, tilW'-;
2 A, ftreii; 2 A, wir^l — rfa it?T: i
arjnriflfsr ; 2A, asrf?T9rircft i
It is a Vedic work on prosody entirely diflercnt from
the work by Gahga-dasa.
4773.
H5:WA. I
Chando-manjan-vydkhyd-sarah.
Substance, country-made paper. 14 x3i inches. Folia, 8. Lines, 10
on a page. Extent in slokas, 400. Character, Bengali of the nineteenth
century. Appearance, discoloured. Complete.
It begins thus : —
# ijirt imfnr I
t«i vifk«5ii«WT8fii !
S*
W^%fTcrr(?) i
’*r35t fifW II
( 376 )
It endfi thus : —
?rTC»j?T
fgf^t ^ TO f ^tTlfa I
Colophon : —
Tfir ?5^^5RlHC(5iT^TfrR: f ^wt Jrtt%5«[nr i
Post Colophon :—
etc., etc.
4774 .
3087. I Chan(lah-sudhakarah.
With the commentary entitled Jyotsnd by Krsna Pandit a.
Substance, country-made paper. 12J x 6J inches. Folia, 30. Lines,
16 on a page, Character, Nagara in tl)e eighteenth century hand writing.
Appearance, discoloured. Incomplete at the end.
The colophon we get is in leaf 13A : —
TOT I
The colophon does not say who the text is by.
Aufrecht gives the author’s name as Kr^narama.
The MS. is incomplete both ends.
The text begins thus from the middle : —
WSTOTfir^ 5TOT fsiTOT ’!rT%^ ^TTOSUF^ I
TOnfi ^ISJTTOBT^ TO5RT^ II \ II
■nro ^ ^ TOim TOJrprr wi^ i
V TOil g I ^ «
( 377 )
The commentary begins : —
f*r^irirRTHr^
?rf ^ 1
4775.
3518. I C^iavdo-rainakarah.
By Rame^mra^ son of Vasudeva Sdrvahhauma.
Substance, country -made paper. 14^ x inches. Folia, 17. Lines,
4 on a page. Extent in slokas, 280. CJharacter, Bengali, Date, Saka
1622. Appearance, discoloured. Complete.
An elementary treatise on metres in four chapters.
Last Colophon : —
^ I
Post Colophon : —
Tftwm II
Beginning ; —
«WT% cwrtai^inFN «t^' %
?nrt 55fn*i sifejaifu i
irar ^ Hfasct^’nftwT
cwtftr ii
^ri! >jm ^ > iii^ < «.^»HT I
^ v*
«?^lK8rr«K SHH qaiijsi aasim «
555 m^T^fran f^^»r 11 1
48
( 378 )
Oolophon runs thus : —
W9t-'^t5f’5r»;^TTfmfiTfw?;p9% afrcfl *rTW
1%aW i
The colophons of the first and the second ratnas are
not found.
It ends : —
sTT’iww^rT I
wjf i
Authorities quoted : —
lA, ; 2A, Tfir *rT^, rfcX nff = ; 2B, Tft firf% ; 2B,
tflfWT ; 3B, aiwTWT^, ifffawii ; 4B, tOt ^rftcTcar^,
Kiifnfwt, 5 A, ; IIB, TftrTf^iT^fw
xf^ ^iSTm i
4776.
9672. I Vrtla-ratimrall.
By Girahjlva Bhattacarya, the son of Raghavendra
Bhatfacarya Satavadana.
Substance, country-made paper. 13x6^ inches. Folia, 3. Lines, 18
on a page. Extent in Slokas, 180. Character, Nagara. Appearance, old.
Complete.
This is a treatise on versification, written under the
patronage of Yasavanta Simha, the Naeb Dewan of
Dacca, who is often addressed here with high sounding
epithets. The verse 72, for instance, giving the rule of
the Sardula-vikridita metre, runs thus, panegyrizing his
patron : —
( 379 )
^«9rT iTJnTWHiTJnt?n>3ft
For the opening and closing verses see Hpr. Vol. Ill,
No. 280, p. 183-184.
4777.
10084. I VrUa-vivecanam.
By son of Vilasa, the son of Sn Rama.
Substance, country-made paper. lOj x ii mclios. Folia, 1.
on a page. Extent in Slokas, 90. Character, modern Nagara.
ance, fresh. Complete.
Lines, 7
Appear-
Tlie mangalacaraiia and the object of the work :
jTwnfawfHar^ '
The author's father and grand-father, and the date of
the composition, and extent in slokas of the work
7 i
(1817) Kim I
(51) II *
Colophon : —
(^) I Composed in Sarnvaf 1817.
Post Colophon : —
«RT^T% II ^ trSr»K! II ^
II ^ II i
f’srfTIcf + + HI? II
{ 380 )
4778, 4779.
10085. I VHta-muktavali.
By Hari Sankara (Oauda vamsodbhava).
SubBtanoe, country-made paper. 10| x 4| inches. Folia, 6. Lines, ti
■on a pogo. Character, modern NSgara. Appearance, fresh. Incomplete.
Beginning : —
^iiStII^ I
^ I (?)
fiRT j €^HTfT 5 II \ n
?:t ii ^ n
II wT% ag *i«n II II
4780.
9267. I Bala-.nkwpadeSah.
By SiddheSvara Kavi,
Substanco, country*made paper. 7x3 incheB. Folia, 8. Lines, 5
•on a page. Extent in 9lokas, 50. Character, Nagara. Date, Samvat
1920. Appearance, tolerable. Complete.
The last page contains names of metres. So the
work has come here. It is really a Sanskrit reader.
It begins thus : —
’W! I
’firai i
TT cI^W^’rwfT II ^ II
nfing i
w^^nTHfinai nfinfti iratniw H ^ li
( 381 )
End a ^ <
SRTSFi fw^f*TO>T^5 I
f?RjT •t^sftnrt ?ffl3W3frt i
Colophon : —
f^ + + +
4781.
5915 . I I Wiia-darpanam.
By Bhismu MiSra.
Substance, coutitry-inade paper. 9|x4^ mcheH, Kolia, 4. Lines, 15
on a page. Character, Nagara of the nineteenth century. Appearance^
old and discoloured.
A treatise on versification in two chapters, the first
dealing with the Matra-vrttas and the second with
Varna-vrttas. The present manuscript contains the first
chapter only.
For the beginning and the end of the work see
L. 2028,
Colophon :—
4782.
3757. U I Prahia-pingala-ilka.
Substance, country-made paper. 14^x3 inches. Folia, 5. Lines, 11
on a i)age. Extent in glokas, 280. Character, Bengali of the seventeenth
century. Appearance, discoloured. A fragment .
Itheginft - —
I
ftR»i I «r«r *TT^T«re*nT .r^ i
( 382 )
«55tf: ^?tT! fipg ipgJraSfUT’IJri’T ^f? ’SPHTT*'
i^ngyror ftt»s i ^ wjt: Hwfir ^
finr’sf'fTir! I iitnr?TT Jiftwt ^ifa
<wnftft I «irf«irTOTT:^T53i\9JT% arJnftsTO^tfir ?f?j wtto
TOfti^igw I ^ ^Ttjii ffa <TOT=^T«f p^Tj;!, ■srpJT^JT^
P?t^irJllfgre#tf<T tra «5^: «li*?rT! H^fjrl I ^rol^lf’StTSIf?:® ^
P« ^ITPsftPT! I PPT M I I I I ct-^ TT Tpgp^j^fflirr^-Tsi
\ 1 1 1^ I i,i '= 1 I ^ tPTr ipargp?it>Ti H^fir
?rpi:tr= i P’atr#^^ ’sftPT^ PT?9rTi^s?fsr«:
%^T I
It ends : —
3t»i I 1
After this there is a line in a later and still smaller
hand. The fragment contains Matra-nasta, Varnoddista,
Varna-meru, Varna-pataka, Matra-meru and Matra-pataka.
4783 .
10086. IT^n^fR or |
Prastara-pattana or Chhandah-prasfam-sarani,
By Krmadeva.
Substance, country -made paper. 9Jx43 inches. Folia, 15. Lines,!)
on a page. Character, modern Nagara. Appearance, fresh. Incomplete
at the end.
Every leaf is marked with the letters rwT .
A well-known work on metres.
Beginning : —
^tiri'srip sht: I
»RPT jrair -ftif ^ i
pw(K^r):fti= 1550^%^ II
( 383 )
JTRWtir: ^IT f ilT«r% ^JBT II
The object and the scope of the work : —
mwft ?:*nfhn
f 4^^ fwrfh ii
ireatwt5ra*Tr? i
4784.
9690. The Smne.
Substance, couutry-made paper. 13^x0 indies. Folia, 5. Lines, 18
on a page. Extent in Slokas, 460. Character, Nagara. Appearance,
tolerable. Remarkably correct. Complete.
This is a short treatise on versification, based on
Pihgala-sutra and composed in Samvat 1879. It has two
chapters called Prasada. Composed in «TWT^3TW*iftT
1
Beginning : —
5I?rT Iti4 5EfWT^ I
^4% II \ II
ti% I
JwNfPr= =?inT ii ^ ii
^Rifk owjcwjffl ^JrnFbTT i
^«fhr ^rfh » ^ n
?TWT^ 1 /
II 8 II
TiWj^TsrctTiRJtOT rreiTCTTT —
fr I
SftTTTSI’^I'W ctTfTffT! II
( :«4 )
5-151111 1 11
trx^tj wiDii^re«t?[ii5% (?) II i n
tfir h^tr;: I
E-iid : —
Hifsr^’rfsTal ir:
^sj -iftJTST g% if^Pi II
naTTEWsiiffjR »rtfa% aafftsfw^
faarfaf^ fasr^ii^ KTstiftaTfcrx?^ 1
^anawraiafia-
jgstfit iigataftw irasi irraafta 11
The last colophon runs : —
Tfa ^aa!^sr5iX»rftfT(Tgi*r-^ft9rTaa?hiRn^TfitgfB
’^Ntffis^fw(5(xf%inf^a!itafaxfn% hwchtk itftrsT-
Cs
^tftns-flfiiifffiTt *rm TJT?rT?rt stfa a
Wf^ I
35 H i
4785 .
10340. I Chhandah-kaustuvah.
By Radha Damodara.
With the commentary hy Vidyahhusana, the author's pupil.
Substance, country-mad© paper. 11x5 inches. Folia, 32. In tri-
patha form. Character, moc^jern Nagara. Appearance, fresh. Complete.
An elaborate treatise on versification, with illustra-
tions in praise of Kr^na.
For the work see L. No. 2570.
The com7nentary begins : —
«rfiicTiT^T*T5€ft i
( 385 )
End : —
Last Colophon : —
sr^wtwr: sptht: I
Post Colophon : —
fttftScT JTTwftV^CTT^IT^sr I
4786.
0300. A work of the same name.
By Durgesvara Bhatta.
Substance, country-made paper. 12x5 inches. Folia, 19 (11-16 and
21-33). Lines, 9, 13 on a page. Extent in slokas, 570. Character,
Nagara. Appearance, new. Incomplete.
See L. Vol. VIII, p. 22, No. 2570, for the text, and
botli for the text and commentary, Peters, 5, 192-93.
The work is based on Prakrta-pihgala.
Leaves from 11 to 13 are written in red ink ; the rest
in black, but in the same hand.
This fragment contains 15 chandas.
There is one more leaf of some other work on prosody.
49
ALAMKARA OR RHETORIC.
4787.
9707. I Alamhara-seklmrah.
By KeSava Mura.
Substance, country-made paper. 11x5 inches. Folia, 51. Lines, 9
on a page. Extent in §lokas, 1,000. Character, Nagara. Date, Saipvat
1914. Appearance, tolerable. Complete.
This is a commentary on the Alamkara-sutras of
Sauddhodani, written under the patronage of Maharaja
Manikya Candra, by Kesava Misra. He is stated, in the
second introductory verse, to be the author of seven other
works on poetics. But all of them, as he says, are
intelligible only to those who are versed in the Tarka-
Sastra. Hence the necessity, he says, for writing the
work under notice. What the seven works, he speaks of,
are, is not ascertainable.
Rama-candra, Manikya-candra’s grandfather, died
in a sanguinary war between a sultan of Delhi and a king
of Kamta (?). The dynasty to which Rama-candra, his
son Dharma-candra, and Manikya-candra belonged, is said
to have their origin in iSusarma.
For a description see L. Vol. IX, No. 3307.
The last colophon runs thus
Post Colophon : —
( 387 )
4788.
0708. The Same.
Substance, coiintry-mado paper. 10^x4 inches. Folia, 16. Lines,
12 on a page. Extent in slokas, 530. Character, Nagara. Appearance,
tolerable.
A fragiiieiit of tho .samo.
4789.
4057. I Kavyadarmh,
By DandyCicarya,
Substance, country-inaclo paper. 14|^x3J inches. Folia, 29, Lines,
7 on a page. Character, Bengali. Date, i^aka 1730. Appearance, dis-
coloured. Complete.
A work often printed and often noticed.
Post Colophon Stalemenl : —
’9IT%
f^smSTfcR^ II
(Jolophons : —
6B, -jrfa n’sm: ; 21B, staT^w-
Last Colophon : —
gsr^-^
•n»
^mTowtfer-snewt^f % i
?WT«g »Twrsrf?r
1TW ii
( 388 )
si ynT^ftfir ^ftHroftr
4790.
4544. The Same.
Substance, country-made paper. 14x2^ inches. Folia, 48. Lines, 4
on a page. Character, Bengali of the eighteenth century. Appearance,
old and discoloured. Complete.
4791.
3033. «rr^THZT^n5TT* l Va^hlmialamkarah.
Substance, country-made yellow paper. 9^x3^ inches. Folia, 21.
Lines, 7, 8 on a page. Character, Nagara. Appearance, old. (Complete.
Written in two different hands, the first four leaves in a smaller hand and
the rest in a larger one.
The work has been often noticed and often printed.
4792.
7796. The Same.
Substance, country-made paper. 103x5 inches. Folia, 21, of which
the first is missing. Lines, 7 on a page. Character, Jaina Nagara. Date,
Samvat 1916. Appearance, fresh.
Last Colophon : —
Post Colophon : —
fcf'^ I,®
ftr* 1 'SR (the name is blurred over
with ink)
1 11
( 389 )
4793 .
V agbliMt/danikarn-sutra- I'ydkhyd.
Substance, country-mode paper. 10 X 4J inches. Folia, 30. Lines, 9
on a page. Extent in .^lokas, 700, Character, Nagara. Fresh. Incom-
plete.
riicoiiipletc. Thirty leaves. The MS. is incomplete
and the author’s name is not ascertainable.
It hegim ihuH : -
iTi?: I
UTf •T^fcT |
4794 .
8998. I Kavi-halpa-lata.
By Dehendra, the son of Vdghhala,
Substance, country-made paper. 9x4 inches. Folia, 36-07. Lines, 9
on a page. Extent in Slokas, 1,600. Character, Nagara. Dated, Samvat
1713. Old. Fresh.
From leaf 36 to the end in leaf 67.
Colophon : —
?mmT I
Post Colophon : —
TWTf^ I
( 390 )
4795 .
4447. The Same.
By DeveSvara, son of Vdghhata, otherivise called Mdgha
Caita^iya.
Substance, country-made yellow paper. 17^x4 inches. Folia, 68.
Lines, 6 on a page. Extent in Slokas, 1,400. Character, Bengali of the
nineteenth century. Appearance, fresh. Complet e.
Last Colophon
The 8th flower is a collection of 26 verses.
Post Colophon
This is a manual of rules for composition : published
in the Pratna-kamra-nandini, Nos. 1-31.
See Aufrecht, Cat. Bodl, No. 498 ; Weber, Cat. Berl.,
No. 822 ; and 1.0. Catal. No. 1178.
4796 .
10557. The Same.
By Devesvara^ the son of Vdghhata, the Minister of
the King of Mdlava.
Substance, country-made paper. 10x4 inches. Folia, 67, of which
the last three are a restoration. Lines, 9 to 12 on a page. Extent in
Slokas, 1,400. Character, Nagara of the eighteenth century. The restora*
tion being dated Samvat 1964. Appearance, old and discoloured.
Colophon , : —
tfs ?nw I ^HTTHT I
Post Colophon ; —
^ ?ffcT SRTf^ «J9!r
VJ G's.
( 391 )
Beginning : —
ir^TfTftfwf^aT! tjfinuliRUm^T^rf^’ST
^rf^BcjT! i
s» j ^ Cx
5rrai w ^?g ^ 5»ft^ wst ii \ n
The author : —
'atrgs ii ^ ii
tj(T)ftnTT-Wf%tn(*{T*T: f4% I
9iff%cn'snir-f?i:5rrf5f^’5n! o ^ ii
X(^ IT^ ^5^: lfliT«nW5f?T II 8 II
g|i f<« fi fl :-gf! ff( i fNf =9 i
THTT iikT^ft:«nsTW*ra;t ii
«iWSII' Mr^.sTl'rtl^T?? II
tt i
% "^g: Tii|¥s ?iH f^?:f^aT: ?iimg ii
The end : —
irtf^sfiai ^e*T^
<d
flfT CTT^: I
Hints are given how a man can write verses easily i
Sanskrit.
( 392 )
4797.
4015. The Same.
Substance, country-made paper. 18x3i inches. Folia, 17 to 47,
Lines, 6 on a page. Character, Bengali of the eighteenth century. Ap-
pearance, old, discoloured and dilapidated. A mere fragment.
The fragment contains the second stavaka minus the
first kusuma of which there is only the colophon, the
third stavaka and the beginning of the fourth.
28B, Tftr i
40A, Tft aw
yiiwr I triTTK^Ta s^: i
4798.
9360. The Same.
Substance, country-made paper. 10x5 inches. Folia, 62. Lines, 10
on a page. Extent in slokas, 1,220. Character, Nagara. Date, Sarpvat
1914. Appearance, tolerable. Complete.
With marginal notes on some leaves.
This contains rules for composition and is divided
into 4 chapters called stavakas, which are subdivided into
4, 5, 6, 7 kusumas respectively.
See I.O. Vol. Ill, p. 339A. (^atal. No. 1178 to 1182.
4798A.
8180. The Same,
Substance, country-made paper. 12|^x5 inches. Folia, 80. Lines, 9
on a page. Extent in slokas, 1,300. Character, Nagara. Date, Saipvat
1964. Appearance, fresh. Complete. The first and the last leaves are
restorations.
Post Colophon : —
fTfcT ^
( 393 )
The colophon runs : —
WTTTT I
^ 1 ’S?t^T«T^'5T?ir^KT^ I
4799.
10004.
K avi'knlpa -lata- vyMya.
By Mah/tdrm.
Substance, country-made paper. 9x4 inches. Folia, 20 marked
ia-32. liines, 15 on a page. Character, Nagara of the nineteenth cen-
tury. Appearan(‘t\ discoloured and decayed. A mere fragment.
The text, Kavi-kalpa-lata is ljy Devendra.
The work gives instructions for versification on various
topics. It consists of 4 sections, called stavakas, which
again are subdivided into Kvsunuts. See Oxf. 211 A,
W.p. 228, and T.O. Catal. 1178-1182.
17 A, Tfti
^HTTHTI
?mmTi
23B, TfH WTH i
27 A, Tft
sgugn i
28A, Tft g^l^-a«TirTf^wrn^ii'5»Tf5n«iT^ i
28B, rftr «« wmw
a^t^! i
29A, I
«n^twniw% I
50
( 394 )
8999.
4800,
Pudartha-dyotanika.
)
A comme idary on Kavi-kalpa4atd»
By Mahadeva, llte son of I
Substance, country- made paper. 8Jx3^ inches. Folia, 146. Lines,
10 on a page. Extent in slokas, 2,900. Character, Nagara. Old. In-
complete.
Prom leaf (59 to the cii<l in leaf 14(5.
This begins from as the text noticed under
the last number begins with the third.
The Iasi (■olophon rims thus : —
It ends thus :~
atipri: ^:arf
^b?f^T5T + + + ^ + + -h + I ^H’TT’rt
fni^T^T^! ?rF?:inFr<tv^i*r'n:*i m (*i*
?rK iiwr«
tTTwi^ ^sjft’nr^Tirg ^ ?r4%w% atisj
■r8f:^3V(lTiai|dfcf?I fjt«f I \®() I
4800A.
10202. I Sruyarartilakam.
By Evdra Bhatta.
Substance, country-made paper. 9x4 inches. Folia, 35. Lines,
8 on a page. Character, Nagara, Date, Saravat 1715. Appearance, old
and discoloured. Complete.
( 395 )
Last Colophon : —
Tfir T^TTJlJr I ^ I
?rmTrN Jt;?}! ii
Post Colophon : —
-^trraT «
x o ¥flt Tfl'?rrwrT:T(»i^’r
sTintm II
See Oxf. 491 .
4801.
5456.
Rudralalamkara-tippanarn.
Bp N ami -Sadhv.
Substauco, country-made paper. 10 x 3^ indies. Folia, 75, Liaes»
10 on a page. Extent in slokas, 2, 000. Character, Nagara. Date*
Samvat 1678. Appearance, very old and discoloured. Complete.
Last Colophon : —
Tftf srftrfrxgff + + + +
Post Colophon Statement : —
+ + + + -h
Tlie end has faded away. It contained the name of
the place where it was copied and the name of the reign-
ing king.
The text is by Rudrata and the commentary by
Nami Sadhu, the disciple of Bali-bhadra the head of
Thava-vadra-puriya gaecha.
See the end in Sanskrit in L. 3329.
The concluding verses, the last of which contains th^
date of the composition of the commentary (1125 of th<
Vikrama Era), are not given in the present manuscript.
( 396 )
4802.
1824. I AbhlMa-vrtti-m'Mrkd.
By Bhatta M tdmla, son of K allala.
For tiie manuscript sec L. 2438 and for the work see
Buhler’s Kasmir report p. 66.
It is a short elementary treatise on Ahhida, one of
the main topics of Indian rhetoric.
The author belongs to Kasmira and to the 10th cen-
tury A,D., as he comes between Bhatta Kallata and
Abhinava Gupta, both distinguished Saiva ])tulosophcrs
and rhetoricians.
Rajendra-lala thinks tliat tlie character is Nagara, it
is modern Kasmiri.
4803.
9621. I Dasa-rupam.
By Dhanahjaya with Dasa-rupdvaloka, the comwenlary
by Dhanika.
Substance, country -made paper. 11x5 inches. Folia, 58. Lines, 10
on a page. Extent in .slokas, 2,040. Character, Nagara. Date, Samvat
1841 . Appearance, tolerable. Complete.
This is a well known work on dramaturgy, printed in
the Bibliotheca Indica and translated by G. C. 0. Haas of
Columbia University.
Colophon : —
Post Colophon : —
i, JIT?: I
( 397 )
4804.
2494. The Same.
Substance, country- made paper. 10x4^ inches. Folia, 74 of which
the first 18 leaves are missing. In tripa^ha form. Character, Nagara
of the eighteenth century. Ap])earance, discoloured and corroded. The
last leaf is of yellow colour.
Often noticed and printed.
The last colophon of the commentary : —
I I
4805.
900t). The Same.
With its commentary entitled l>y the son
Vimm.
Substance, countrj^-inado paper. 10 x 3 inches. Folia, 85. Lines, 7
on a page. In tripatha form. Character, Nagara. Fresh. Complete.
Complete in 85 leaves. The text in the middle and
the commentar}^ above and below.
For the commentary see I.O. Catal. No. 1129.
4805A.
3808. I Kavirahasyarn,
Substance, country-made paper. 13x2 inches. Folia, by counting,
12. Lines, 0 on a page. Character, Bengali of the seventeenth century.
Appearance, faded and dilapidated.
A fragment of Halayudlia’s Kavirahasya : —
^ ^XfiT tlW + + + + + + II
( 398 )
This is a work on rhetoric in verse. It also gives the
uses of roots. It has been often printed in Calcutta, by
Sir Raja Saurindra-Mohan Tagore and others. The MS.
was copied in Saka 1599 by Visvesvara Sarma.
The Post Colophon runs thus : —
aiSTT-
flPTfl I
Tf^fvrain^-uisi lifii: isutbRn: i
+ + I
4806.
8997. 1 R4i I I
SarasvaU-hanthdhharam^
By Bhoja.
Substance, country-made paper. 9x4 inches. Folia, 12. Lines, 8
on a page. Extent in slokas, 200. Character, Nagara. Old, Incom-
plete.
The first chapter only in 12 leaves, and five karikas
of the next chapter in leaf 12.
4807.
1672. The Same with illustratioyis.
By Bhoja-rdja,
Substance, country-made paper. 13]^ x 6, Complete in five chapters.
First two take 77 leaves, the third 37 leaves, and the fourth and fifth 82
leaves. Character, Nagara. Appearance, fresh. Complete.
Printed in Calcutta under the auspices of Anandasam
Barua 1883-1884.
( 399 )
4808.
4851.
Sarasvatl-kanthahharana-laghu-tlka.
By Harihara MiSra.
Substance, palra-Ioaf. 12Jx2 inches. Folia, 8 to 47. Lines, 7 on a
page. Appearance, discoloured. Character, Nagara.
The first Colophon is in 19B ; —
It ends thus : —
Last Colophon : —
^HTHT I
4809.
5184. <3^ I omf I f^eh I K avya-prakam- kari ka
or Kavya-prakdm without the prose portion and the
examples.
Substance, country-made paper. 14x2^ inoho.s. Folia, 12. Lines,
6 on a page. Character, Bengali of the nineteenth century. Appearance,
fresh. Complete.
Colophon : —
4810.
11121. 2'he Same. Here called Siilra-patha,
Substance, country-made paper. 13x.5 inches. Folia, 3. Lines, 12
on a page. Character, modern Nagara. Appearance, fresh. Complete.
These leaves contain the karikas of Kavya-prakasa
numbering 141.
( 400 )
Colophon : —
rfi? ^hifT5i?i!Rnr ?wTlTWJrjrq[ i
4811.
8994. The Same.
Substanco, country-made paper. 11x4 inches. Folia, 11. Lines, 7
Oil a page. Extent in slokas, 180. Character, Nagara. Appearance, old.
Complete.
( 'Olophon, : —
Tfa ’TW
1 ?mTfn: SRrsjUJBTW^TtTJRT: I
4812.
3980. The Same. With Vrlii and examples.
Substance, IvaSmin pa})cr. 10x7 inches. Folia, 1)5. Linos, 10 on a
page. Character, old KasmlrT Appearance, discoloured and worm-eaten.
Complete.
Many of the leaves contain marginal and interlineal
notes.
Colophon : —
’n-JT i
4813.
718. The Same,
Substance, tadi-pattra. 14x2 inches. Folia, 91. Lines, 5 on a
page. Extent in slokas, 2,200. Character, Bengali. Appearance, worm-
eaten and dilapidated. Complete.
( 401 )
4814 .
8555. The, Same.
Substance, country -made paper. 10x5 inches. Folia, 78. By
counting. Lines, 10 on a page. Extent in glokas, 1,500. Character,
Nagara. Appearance, fresh.
Liooinplete.
From the beginning up to the and tlie
chapter on Alanikara.
4815 .
8738. The Same,
Substance, country-made paper. 1.3Jx5 inches. Folia, 128. Lines,
0 on a page. Extent in slokas, 2,500. Character, Nagara. Dated, Sam-
vat 1902. New. Complete.
( 'OUij^ilete ill 128 leaves in large, bold and beautiful
iiaiid on thick paper with marginal notes throughout.
Copied in Samvat 1902 at Benares. On the back of
the last leaf occurs the following sloka : —
fWKTJTfansift TO?;: it,
4816 .
3527. The Same.
Substance, country -made paper. 17 x 3 inches. Folia, 90 of which
the first five are missing. Lines, G, 5 on a page. Character, Bengali.
Date, Saka 1435. Appearance, fresh. Incomplete at the beginning.
Colophon : —
f STTH 'ar«T^: i
51
( 402 )
Post Colophon : —
xf38j= I
^IT% ^T5ttnifT9nf>ni i
irtTFsit ■jfasRfir^ n
5fiiraT*r TTfsrstfsra! ^rJrit fMii! i
?IT^tT ^fvtt~< (n r ^ i II
4817.
4726. The Same.
Substance, palm-leaf. 12x2] inches. Folia, 5 to 126 of which the
following leaves are missing: 1-4, 7, 12, 13, 15, 20, 23, 33, 36, 36, 37, 39,
41, 42, 44, 46, 47, 49, 60, 53, 59, 60, 61, 64, 66, 67, 73, 77, 81, 84, 87, 89, 93
to 99, 101, 103, 104, 108 to 111, 113, 114, 117, 118, 121, 123 are missing.
Then there are 26 leaves with the leaf marks lost, one of which contains the
colophon of the 5th ullasa, after which there are 12 leaves. Lines, 4, 6, on
a page. Character, Nagara of the fourteenth century. Appearance, old,
discoloured and worm-eaten.
4818.
2983.
A fragment of Raghudeva commentary on the karikaa
of Kavya-prakasa, which are attributed by the com-
mentator to Bharata-muni, the Vrtti only according to
him is by Mammata Bhatta.
For the MS. see L. 4242.
Beginning : —
to** i
f»ra»ricff ?rt xmrf^ i
( 403 )
4819.
835. I
K(ivya-prakds:i until a commentary,
For the manuscript see L. 1681. But the description
there is misleading.
The accompanying tika appears to be a recast of
Jayanta’s commentary, improved and supplemented by
quotations from many later commentaries. The com-
piler s name Ratna-kantha, and that of the tika, Tika-
sara samucchaya are to be found in leaf 68 B in a verse to
be quoted hereafter.
Aufrecht says that the Jayanti commentary was
composed in 1293.
The commentaries quoted in this are: (1) Bhaskara’s
commentary, (2) Sarabodhini by Srivatsa Varma, (3)
Pandita-raja, (4) Kavya-prakasa-suttra-nirupaka-kavya-
pradipa, (5) Pradipa-kara, (6) Kavya-ratna-pradipika,
(7) Brhat-samketa-kara (14B), (8) Bhima-sena Magadha,
(9) Alamkarodaharana (297B) by Jayaratha (?), (10) Su-
buddhi misra-tika, (11) Vi^tarika.
64B,
68B, Tft
I
131 B, Tft 1
( 404 )
159B, Tfti uO’P^ti «f ’ru’nfspEf'Ttrr^it
am aftrarwTTrflfnfnrT ^w; i
162A, srlfTsiTfgfwf^^wRt aif5*rft^'WT?:?rfT-
rTT^T 'atgiff! I
227 B, Tfif HfSTOJftf^f-ncTTirt ^TS9H«ni^fi(flKniT T3?€t^-
3in!!rwTC«rlTcn^ fhfl^inn n-w ?tK>T ^frr^r: i
239A, Tfif ^ttfT5T>TfsniTtf^Tf^aTm a(n3tir«!rmftfw^
«f5ij^T?rT)wfT«Tm sTm ?aw: I
266B, Tf?f ^^tfTfrvr[f ]»i
^^ifWTC^rfTcmrt n:5^i'T?:ff%3st ’fw *r=w i
See Peterson’s second report y). 16.
4820 .
913. I
Kavya-’pi'aka^a-wdnrsanam,
By Rajmaka-Ayutnda Kavi.
For the manuscript see L. 1825.
Colophons : —
14A, tfcT ^^fff i
34B, Tfii + + + + +
I
41 A, Tfir
^ 4821 .
Kavya-prakasa-tlka.
By 8n~dhara.
Substance, pahn-leaf. 12ix2 inches. Folia, 1 to 116 of which the
following leaves are missing : — 24, 32, 34, 46, 47, 48, 60, 64, 66, 59, 63, 66,
69, 86, 87, 88, 93, 96, 100, and 114. Two leaves are marked 61. Lines, 7
{ 405 )
on a page. Character, Maithila of the thirteenth century. Appearance,
old and discoloured. Incomplete both ends.
The MS. begins from the 6th ullasa and comes
abruptly to an end in the 10th ulltxsa.
2B, TfcT ; 61 A,
See my Report for 1895-1900.
4822 -
4738. The Same.
By Tarkdcdrya Thakkura Sri Sfi-dhara.
One leaf measuring 12x2 inches, contains the end of
the commentary. It is written in old Maithila and marked
117.
(lolophon, : —
I
Post Colophon : —
^WT5|iTT»?lt -f + + + ^
I
Here the MS. comes abruptly to an end.
See my report for 1895-1900.
This is the last leaf of the previous number but it was
separately acquired and a separate number given to it,
the MS. was written in a hurry by two scribers under the
order of Vidyapati the Maithila poet about 1405 A.D.
( 406 )
4823.
2886. I Kavya-jyradipah.
By Mahanmhopadhyaya Govinda, son of Kemva and
elder brother of Srl-harsa.
Substance, country-made paper. 10x4 indies. KoJia, 183 with 24th
leaf missing. Lines, 9, 10, 12 on a page. Extent in slokas, 5,500.
Character, Nagara of the eighteenth century. Appearance, discoloured.
A comnioiitary on Mainmata Bhat^’s Kavya-
prakasa.
See Oxf. 502-504, 1^. 3022 and 1.0. C'atal. No. 1146.
Bat none of them quote the verse last but two, in which
Govinda speaks of his younger brother Sn'-harsa in very
high terms.
TTTW
JTT^nT f^^Tufcr^T^% i
SI
This Sri-harsa is to be differentiated from Sri-harj^a
the author of Naisadha. Por, Govinda quotes from both
ftrl-harsas, distinguishing his brother by saying
The work has been twice printed once in the
Kavyamala and once in the Anaiidasrama >Series
Govinda mentions also Ruci-kara Kavi as his elder
brother.
4824.
9346. The Same.
Substance, country-made paper. 9x4 inches. Folia, 179. Lines, 12
on a page. Extent in Slokas, 4,660. Character, Nagara. Date, Saipvat
1780. Appearance, tolerable. Complete.
Some of the leaves were lost, namely 1-7 and 46-61.
They have been replaced, 1-17 by 1-10 and 45-61 by
45-73.
( 407 )
The first ten leaves and the leaves from 45 to 72 in a
different hand look fresh and seems to have been replaced.
The text by Mammata Bhatta is well known and repeat-
edly printed. For the Tika see L. Vol. IX, p. 124,
No. 3022.
The opening verse in the present MS. gives his
mother’s name as while according to the MS. ^
noticed by Dr. H. Mitter it is i
4825.
8737. The Same.
Substance, country-made paper, 13Ax5 incbos. Folia, 124. Lines,
13 on a page. Extent in Slokn.s, 5,400. Character, Nagara. Date, Saqpi-
vat 1923. New. Worm-eaten. Complete.
(!oiiipleto. 7 ullasas in pp. 1-83. the remaining 3
ullasas. new pagination, 1-41.
It begins : —
«*Eiininir
srm 50«tf3i ||
BTfirfsEraw»r
fst^fctac?fsiw?:fTaT I
The last colophon : —
I a>«rg
’V4*sii gviwt::
tJW I
( 408 )
4826 .
2985. The Same.
Substance, country-made paper. 12x5 inches. Folia, 2 to 9+1 to
40. Lines, 10 to 13 on a page. Character, Nagara of the eighteenth
century. Appearance, old and discoloured.
Tlie manuscript contains the commentary on the 8th
^ ullasa of which the first leaf is missing (2“9) and the first
forty loaves of that on the 10th ullasa.
Post Colophon : —
Colophon : —
4827 .
2923. I Kavya-pradlpodyotah.
By Nagoji Bhatia, or Nagesa Bhatta,
For the MS. and the work see L. 4117.
Kavya-pradipa is a commentary on Kavya-prakasa,
and the present work is a commentary on Kavya-pradipa.
The Col. of the 10th ullasa adds the word Laghu
before Kavyapradipa.
4828 .
8735. The Same.
By Ndgojl Bhatta,
Substance, country-made paper. lOJ x inches. Folia, 243. Lines,
13 on a page. Extent in Slokas, 11,300. Character, Nagara. Old.
Fresh. Complete.
Complete in 243 leaves.
( J-09 )
It begins
Kiwft ^REpftft^: I
JITjhrHf : ftiaf
^fT5l5*A 'jf'^ II
1 HTf^nnt i
^Bx^afei: ?rsn a?3r^fifa\^^TW^wf'T i
«jfiT >raT?T®stTti &«aHTnFrria Tfa ^raresa rftr
wt asrfHa^^ftr traffi’Jwg:
sxTf^iff^: I
This seems to be a commentary on a commentary
entitled on 1
4829.
.'5700. aiTRIwIttjssn^ JWTW I
Prabha, a comnteutary cm Karya-jmidlpci,
By Vcddymiafha , -^(ni of BCima Bhatfa,
Substance, country-made paper. 11x6 inches. Folia, 86. The first
34 leaves have been restored in a new hand in 81 leaves, so the number of
leaves in the MS. is new 133. Lines, 14 on a page. Extent in Slokas,
2,680. Character, Nagara of the early nineteenth century. Appearance^
discoloured. Complete.
It begins : —
W I
s»
VJ
«j)ir%wra «
52
( 410 )
HJiRr ^ irsrTJTsrn i
aRT^rSWTlW^^IU^T BHT«?)T II
:— ?Tt5fl^3fT Tfa I
Kavya-pradipa is a commentary on Mammata’s
Kavya-prakasa, by Govinda Bliatta, son of Kesava and
Sono Devi. See I.O. Oatal. No. 1146.
II ends :—
^rafg«fiTsrir«ftW5’ftvT n i
yfii BfbfJr»wt?:wwi'^fasi Bcijt ii
ga: I
f?i^aaJT^T^ ao|»|aT(«aT f%ta: ii
Colophon : —
aT^iwarat ^laiB^y^ingTat
?r«niT: I
4830.
0348. The Same.
Substance, country-made paper. 9x4 inches. Folia, 89. Lines, 10
on a page. Extent in Slokas, 2,490. Character, Nagara. Date, 1780*
Appearance, tolerable. Complete,
This is a commentary on by Govinda, which
is a commentary on Kavya-prakasa.
It begins thus : —
aw: I
^r: wsataajrirw wcrcnjfsfsqKW: i
w ^jftfawwcrrfcarywIwrawTg i[wa<«nsw i \ i
?p5aT?[W^»tTfa HBTWf ^ JTSTTaii
wht^t ftsalwir i i
( 411 )
aifHW ” tfcr I
^nrsf^tmf^^^ 5fT<?iTS?TtaiiruTg^'j'fft ht-
5tr?r
giT'n% i ii
■• End : -
ftmw I
Tfci sf^T-ir®ft^-w^T^^sii «(i I \ ,
«f^5f ^liTar ^^1 =?ftr^ rjftn ^a;
j®|aair9?T5R «4»if>Ti*istT figa: i ^ i
Colophon : —
I^TgftaTai ®TgH^^gT??lTgt 5HI®?igT I
Post Colophon -. —
W »i?lcl I
^a^rfefgarafwa a^T avt^faajft’aHi’^ «
®T3J^t#t^a|[®^^^^t 'S'n^Tfrtfisraa g^jgfafwat
I \ I
*i?Ta ii
4831.
2492.
Kavya-prakam-ristaritcci.
By Paramanandu Cakravartl.
Substance, country-made paper. 10 x 5 inches. Two paginations, the
first from 109 to 144, containing the colophon of the 6th ullasa in 142 and
that of the 0th in 144, and the second from 1 to 188, containing the rest of
the work. The leaf 67 th is missing. One stray leaf marked 1 is put
( -<^12 )
at the end of the manuscript. Character, Nagara. Appearance, dis-
coloured.
The Iasi colophon : —
«tth i
f^Ttr^ I
See ].. 1638 and H.P.R. Vol. 1. 64.
4832.
3364. The Same.
Substance, country-made paper. ITii x 2f inches. Folia, (bv count-
ing) 102. Lines, 7 on a page. Character, Bengali of the fifteentn century.
Appearance, faded and worn-out. Defective at the beginning and at the
end.
Colophon in SIB : —
’TW I
For the work .see L. 16.38 and H.P.R. Vol. 1. 64. In
the opening verses the commentator is described as a dis-
ciple of Isana Nyayacarya.
4833.
9674. I Kavya-prakmah.
By Manmatn BhaUa.
With the commentary entitled Brahma.
By Kamaldkara.
Substance, country-made paper. 14x5^ inches. Folia, 1-6, 1-3.
Lines, Tripfitha form. Character, Nagara, Appearance, fresh. Incom-
plete.
A fragment comprising the first chapter and a portion
of the second.
( 413 )
The Tlka begins thus : —
W! jw: I
nwT iribf ?tjw^ ?:t^ i
^?3Wfra!!ftT?R; srw^n^T^ irrac n
snKTWfnst-'^tsfTW'iaamwsT: i
^TsmaiiTinrT i ^ i
^.■RlBSRT^ fenisq: ?lf% ^Rlfq |
HTHrei^Tf^^ qftst: II
683.
4834 .
Kavya-prakasa-tlka.
By Gadd'dhar < 'akm-vartl BhaUacaryya.
A fragment.
For the MS. See L. 1527.
Leaf 15B : —
Tjwt^Tq-qgw^ II
4835 .
3563. The Same.
Substance, country-made paper. 22x4 inches. Folia, 37. Lines, 8,
9 on a page. Extent in slokas, 1,800. Character, Bengali of the eight-
eenth century. Appearance, discoloured. Complete.
Colophon ; —
^i^jswnifenrft i
( 414 )
Post Colophon : —
sm: II
It begins : —
iftoorfwjrlsir^ tTTTRfisi i
Jtrnuil 5itf 55% «ifT93si^T?r^ ii
B^srsi 5r?r?fnfmnrfiT iwtw Tfa i
Tff? ^TTfcj I »f?:TJ?W(flijr^si i
It ends : —
sig TlwtswHuifl 51 fa«(ftiJm|'i5:ftrsT5fi: i a?g
kYw ?iTf*r5rr^Ti*i«?:fl^w 9i^4j!)T5i!?i??fTTJT5g?B
5S5TgiT5l^eim fwi-f?’?ftHTg5f5f?WsgT?W«rT?tT
«riT UTsm:?; T^TfwiftsqVa ^f^ix ?rT5iiTK^jT?r
<Tfg^5J^^IT^4Tm5T5?ftsfTT
ii • «
5iTg<df^»T5rar^liTai
^%’r jrgr^T: i
f5?«?fl5HigV m: ||
4836.
6583 . The Same.
By Gadn-dhara Bhaitdcarya.
Substance, country-made paper. lOJxSf inches. Folia, 46. Lines,
10 on a page. Character, Bengali of the early nineteenth century. Ap-
pearance, fresh. Incomplete.
( 415 )
The mangalacaraiia and the object of the work : —
Tj^|: ^T^rtraira^ ii
TKen it goes on :—
ijrrfwsi ?fanoM xfa ... etc.
lOA, »TfT'^T^'g!RT#f Jr?T-SIT I
5t5fiTffcr ii
.‘54B, ^'?-
hsa^q’ I
wl^mfvci5Tfanww li
39 A, ^5itnRT9i^'^TW scfta i
3in?qra5rT5095^ra li
The commentary on the fourth ullaSa is left incom-
plete.
4837.
8736.
Sukha-hodhml,
A commentary on Kdvya-pratasa.
By Venkatacaln Suri
Substance, country -made paper. 14x5J inches. Folia, 174. Lines,
12 on a page. Extent in Slokas, 7,000, Character, Nagara. Fresh.
Incomplete. Leaves 5-153, 155-179 to the end of
4th nllasa.
( 416 )
4838.
3783. I Kavya-prakasa-diplka.
By Matuimahopadhyaya Gandl-dasa.
Substance, palm-leaf. 12^xl| inches. Folia, 95. Lines, 6 on a
page. Extent in slokas, 3,400. Character, Bengali of the seventeenth
century. Appearance, discoloured.
Colophon : —
3|!T«9WltCtf<ni>T?Jt TOITT; I
Beginning —
I ’nrsT ft™
unnain
9ii?rarr5!inr ii
ns ^rgHigf^ (T) “STuar + +
^rs^ftrfijt^STnTreRS + + + +
55!PfST«ii axvTJii + + + + «
It begins apparently from the beginning of the fifth
ullasa.
It ends thus : —
sipRiTOffin ^ ?rmTTJ?9nf»Rif^ita
+ + + ^
«t^ «nrnFT^ a*n-
ananram as cs fiawtsts
ftffK! TEssi xififSKsarg'shi-
^HfiBSTa-s!fssTJr»ewEisT%! #
( 417 )
4839.
3515. I Tattva-parlksa.
By Mahesvara Suhuddhi Mtsm.
Substance, country-made paper. 17x3 inches. Folia. 1 to 69.
nes, 6 on a page. Character, Bet.gali of the seventeenth century,
ppearance, discoloured. Incomplete at the end.
If, begins thiis \ —
^BrTijTnr^ ii
^T5T II
^ sfBTIT* II
^fii’sr%B5Frt i
5 ^ ii
g^THifN II
(?) ^Tg?m
(?) nm
iniTTfjr \
^Bc^^ + + + + +
xrofii I
53
( 418 )
TOJZirfjr
Jifsiwid am^ i
aocj ^i aTftri ^aTFW^faiff i
%at wrara JT^fwiasa Tfcftft «
f^nrfincfxs i ratf? i
This is a commentary on Kavya-prakasa. Aufrecht
knows the work as an independent treatise on rhetoric.
Colophonfi : —
8B, Tfii axaiif^arTai aw 'aura:;
22B, • aipa! ; 26A, o ’a^: ; 62A, ifgii ;
The fifth is not complete.
4840.
682. ?irnim«irn5fNiT i Kavya-prakdSa-t'ika.
By MaheSvara Nyayalamkara.
For the manuscript see L. 1526.
Post Colophon Statement '. —
taaf^aa>aa5aaanBTarTTTOiiT»iaT
ufnaT<j (?) arraiBafTsiTwaT^ i
uTmafma*^%aiTfw-af^ aat
aiaiHaTjfliffi: ii
aiTa5ffa|;^affaTani %5fif a«fl aw:
^ aaWaT! arcfliiifwia aai i
*nr!l^ ar^ ula aaaia t ^ aara: »a: b
aTauan?r5T war jjt jit aWr aaraa a^ ^aas i
«#a ftangfaa a aaat fasa faatwati^, «
ataVa>a[a]^<(»i4jjii! anardaa i
atarrsar* i \\ »
( 419 )
484L
4537. I Kavya-prakasah.
By Mamma^ta Bhaita ivith Mahesvara Nydyalamkara^s
commentary.
Substance, country-made paper. i6x6J inches. Folia, the text is’
complete in 62 leaves and the commentary in 107. Separately paged.
Lines, 9, 13 on a page. Character, Bengali of the nineteenth century.
Appearance, discoloured.
Well known, often noticed and often printed.
4842.
6681. | Kavya-pralcasa-tika.
Entitled Rasa-prakdsa.
By Srikrsm.
Substance, country-made paper. 19 x3J inches. Folia, 10+10. The
9B of the first pagination is left blank. Lines, 8 to 10 on a page.
Character, Bengali of the nineteenth century. Appearance, fresh.
A mere fragment, containing commentary on the first
ullasa in 10 leaves and a portion of the second in another
ten leaves.
Fol. 1 of the second pagination : —
Beginning : —
ii
I »rg wrrfmg
( 420 )
«ain,»w — —
— — Tfa ijsja (SjwmT ^
utjutj^ Tfa «’5waaim ag — —
— — — —— arRwanftiift ajT^wjpTi -
nart HTrarnfa^a: a JT^T^faT^it
iwwa 3iaTTtTc[ I
3 A, TWTT I «Ri^T
iTTWtwiHt«t?rawa?a%a ^ftfa a g a^f^na i
3B, I >TT?:a*t f? afagjajrrsrfsRfa
csftfwflfai I
6A, ^f^rsTT’g «rt^ »*wsRinfiT’aJifT5i^T?:«5iraa#a n^ar^-
^rfa??ft3r’5«n(ift) srfnafrafk: ^ taai arg-
tfTaa^aan^ a ^rat:a ..., etc., etc.
4843.
3570. The Same.
Substance, country-made paper. 18x3 inches. Folia, 24. Lines, 7
on a page. Character, Bengali of the eighteenth century. Appearance,
fresh.
A fragment containing commentaries on the second
ullasa and a portion of the third.
It begins abruptly : —
?T75[it^^ti5TT^i cnft: iri^grT5frcftwrT^fti3?it
^ 14 I
(The beginning of the second ullasa).
Colophon : —
22B, Tfif
I
{ 421 )
4844.
9605. I
Kavya^prakasodaharafm-caiidrika.
By V aidya-natha^ the son of Rama Bhatta.
Substance, country-made paper. 10x4i inches. Folia, 84. Lines, •
23 on a page. Extent in alokas, 6,384. Character, Nagara. Date, Saipvat
1742. Appearance, old. Complete. Written in an extremely small hand.
It explains the examples of Kavya-prakasa. Com-
posed in 1740.
Beginning : —
I w: i
=WTfiT fwW II II
5r?i*?rt>ifa4irfh o ^ ii
ww mgjjt ii ^ n
jmT^-nr i
■^«i<iaT0a«yMo4f^<l2''Ci!i
^ Sfcrl5% II 8 B
5rTI!^^l^?;®TW»WKTTcJ I
|saf «
ftncrHsai flWiwNr i
?f^cn ?:i?TMfT7iPi»fprT ii < ii
xtftTthJnd « « i i
( 422 )
ft (\*9») I
fwii«nftnf 93#' i ^ t
Colophon : —
f^H?T(*i*r-«n».i««g<*:fi.<i3'ii fWVarvi
^mpf: I
e^
The note of the scribe : —
I WW5 I n II II
ftr fti< ! ((S<tmfw ^ ^ft i -fN » n t'r ii ^ aw»m
4845.
8993. The Same.
Substance, country -made paper* 10^x4} inches. Folia, 93. Lines,
14 on a page. Extent in Blokas, 4,200. Character, Nagara. Old. In-
complete.
Incomplete, in 93 leaves.
This explains the examples of ^T^fsr^wm: i
It begins thus : —
fir«n?!lfg;ctw^ fW i
III 1 1 I fL » J-L J- T m T J U * ^ L . . A j 1. 11 1.^. * H a H
W?T^TW^?rwmC n ^ I)
anrfn i ^ n
( 423 )
The present incomplete MS. runs up to the following
Sloka-udaharana of the Alamkara-chapter : —
«14l lir«l I
484e.
2818. I Kavi-nandika.
Kavya-prahaSa -tlkd^
By RamakrsTui.
For the manuscript and the work see L. 4123.
In L. 4123 it is erroneously stated to be a comment-
ary on Kavya-prakasa-tika.
4847.
S46. ^|4t|144l»l21<lt| I
Sdrabodhinl, a commentary on Kdvya-prakdM,
By Srlvatsaldnchana Bhattacdrya, son of Visnu
BhaUdcdrya,
For the manuscript see L. 1432.
The MS. ends with the commentary on the Rasa-
bhasa-karika of the fourth ullasa.
In leaf 8A : —
( 424 ^ )
4848.
4154A. I Kavya-prakasa-darsanam.
A commentary on Kdvya-prakaSa.
I.
Substance, KaSmiri paper. 10 x 7 inches. Folia, 29 to 43 and 63 to
127. Lines, 23 on a page. Character, KaSmiri. Appearance, old and
discoloured.
In the leaf marked 29 (the first of tliis fragment) the
commentary is found to be relating to the 4th ullasa, on
tlie texts printed in p. 166 of the Nirnaya-sagara edition
of Bombay.
42A, I
In the 43rd leaf, after which there is a gap (44 to 62
leaves), the commentary comes to the portion (5f the 5th
ullasa, printed in p. 237 of the abovementioned printed
edition ; and on the 63rd leaf the text being commented
upon is found to be of the 7th ullasa, printed in p. 467 of
the said edition. It comes an end in leaf 120: —
The 8th is incomplete at the end, coming up to p, 585
of the printed edition.
There are 17 stray leaves, one of which contains the
colophon of the commentary of the 7th ullasa. They
apparently belong to some other manuscript.
II.
Substance, K&Smlri paper. 7x7 inches. Folia, 1 to 16 and 1 to
86. Lines, 16 on a page. Character, K&flmlri. Appearance, old and
discoloured.
A. 1 to 22, containing the commentary on the 8th
ullasa.
( 425 )
B. It begins with the 9th ullasa, which comes to
an end in leaf 20 : —
^'tcT: 1
The 10th ullasa is not complete but it comes very
near to the end.
There are three stray leaves of equal measure, one of
which contains the colophon of the commentary on the
9th ullasa.
4849.
2495. I Kavyamrta-taranginl,
For the manuscript and the work see L. 2674.
The work is a hostile criticism on the Kavya-prakasa
of Mammata Bhatta. The MS. is incomplete and goes
from the beginning to the Gramyata-dosa of the 7th
book.
4850.
1407. I Alamkara-sarva-svam.
By Rucaka or Ruyyaka,
Substance, country-made paper. 10x7 inches. Folia, 83. Lines, 12
on a page. Extent in Slokas, 1,620. Character, modern KaSmIrL Ap-
pearance, tolerable. Complete.
For a description of the work see L. 3016, Oxf., p. 210,
which also gives authorities quoted and Burnell, p. 54 A,
in which the author is named as Kasmira sandhi-vigra-
hika Mahkhaka.
This is a vrtti commentary on Rucaka’s own sutras
on alamkara, which are incorporated in the work. For
instance in lOB, line 2, the following stitra with its com-
mentary is to be found.
54
( )
fwm (W^) I (Comm.) w»)T«nn5%
w fw! wprtsii ^r^ffwR irawt! i
4851.
1660. The Same.
Subatanoe, K&Smiri paper. 10x7 inches. Folia, 37. Linas, 24 on a
page. Character, Kaamiri. Appearance, tolerable. Incomplete at the
end.
Often noticed and printed in Kavya-malft No. 85.
Ruyyaka was the guru of Mankha who wrote Sr!-kantha-
carita between 1135 and 1145 A.D. See Biihler’s Kasmira
report, p. 61.
4862.
1827. i A lamkarodaharamm.
By Jayadratha.
For the manuscript and the work see L. 2442, and
for the age of the author see Biihler’s KaSmira Report,
p. 68.
4853 and 4854.
1661A, & 1661B. The Same.
Substance, K&Smir! paper. 10 x 6| inches. Folia, 6. Lines, 24 on a
page. Extent in Slokas, 216. Character, Ka9m!ri. Appearance, tolerable.
This number contains two works : (1) entitled
by Mammatacarya, (2) by Rajanaka
Rupyaka.
(1) i Ends in leaf 6B.
Begins : —
?TT^ 5mnt gwnwnc tfs
( 427 )
«irr<in?n *r iftt
I “wrfip ftwT jwi vTiftsiS! frfwn^Pri”
%»r ^rfiw w%fiRT: ^P i via:«(t
wtrfi ij45«i«i**WTtj 5^ »tTai Tfs wRu^
?ftri^rrr siifeftmf? i tt wf»f ««f%-
svnm’Hsri^ ^(wrrw awrs:
ii5^' «r i(T^ jit: TifrxfW m
s<
WTflP^fiT ^ I
End ; —
^W?TT^ inTT^J TrfJuTUr^ fT ^WSTT
xRfj-ftr: %ir ¥1 «iirt Tft
ftmfcTfirfif fw I
5B. Colophon : —
Tfir r^i
r^ct* ^WTH' I
This appears to be a short treatise on the three vritis^
of a word by Mammata, the author of Kavya-prakasa
and its vrtti-commentary. Here the author says that the
subject matter of his treatise has been expatiated upon
elsewhere. That elsewhere means the 5th chapter of
Kavya-prakasa in which the Vyahjana or the implication
of words is treated of in full.
See Biihler’s Kasmira Report, p. 68 and Extr.
No. 263, p. cxxxiii.
(2) by Rupyaka or Rucaka. Begins in
leaf 5B.
( 428 )
Beginning : —
^jfai WHTirfti^aTftrf* = i
iftWlt^’ETTf^'^ ■sr^T pfT: I
BHT ciir «»ifiT(1^)9nr«*r ftmftrcn i
wRTffl lem ^Hraj ^jbt: «
I ^rst: i ?ifin^T*s-
K<n I TSfTf^
Col. in leaf 6A : —
laiw: I
Col. in leaf 6B : —
Tfir ^2(rT^^3rff f^w> I
Col. in leaf 6B : —
d
Col. in leaf 6B : —
^^^rn’T’SKlTOlif^TflTcl'nit «^^™WrT Hfr-
?rf?fWl[wT] I
Tf3 MfifM
This is a second work, hitherto unknown, by Rupyaka,
the author of Alaipkftra-sarva-sva. This also disposes
of the spelling of the author’s name on which so much
has been said in the Kasmira Report. It is either Rupyaka
or Rucaka.
( 429 )
4855.
I Alamlcara-ratnakarah.
By Sohha-karu Mitra.
Substance, KaSmiri paper. 10 x 6J inches. Folia, 72. Lines. 30 on a
page. Extent in Slokas, 3,200. Character, medieval KaSmIri. Appear-
anoe, old. Complete,
The manuscript appears to be noticed by Biihler in
his Kasmira Report Extr. No. 228, p. cxxviii, as the scribe
appears to be the same.
Btibler thinks that it is a work later than Vimar?ini,
Jaya-ratha s commentary on Alamkara-sarva-sva bv
Rup-yaka. Kasmira Report, p. 68.
4856.
921. i
Alamkara-ratnakarodaharana-aannihaddha-deM-stotram.
For the manuscript see L. 1822.
Sobhakara Mitra, son of Trayisvara Mitra, wrote
sutras on Figures of speech numbering 107. Yasaskara
of Kasmira composed a hymn to the Devi, each verse of
which illustrated a sutra; and Ratna-kantha explained
how a verse of the hymn illustrated a sutra.
After as quoted in L. 1822
i Then
The manuscript contains works of all the three
authors (1) Sutra, (2) Stuti and (3) Udaharana-samanvaya.
The 108th verse of Yasaskara is this : —
•’TsirT?: ^ ftrftvn
( 430 )
it j^fWa «
4857 .
4754. I Candra-karika.
By Simhalacarya, 8rl Ratna-srl-jnana.
Substance, palm-leaf. 11x2 inches. Folia, 14 (by counting). Lines,
5, 6 on a page. Extent in ilokas, 290. Character Newari of the four-
teenth century. Appearance, old and very much damaged. The right
hand side containing the leaf marks is corroded.
Beginning : —
• sw: I
r" , , I . * ..
’TW ii
mfif! film iwi !r«n »n%fn inrm i
g*^<fln8<ni^n> 4- + ^ finj^ II
fr Bfa<n^ w T^ ^raiafirfa a1^ i
wHma t Tmft’ i
End :—
miiirTf? n wa raft i
awrxftJTft ajTPPn ftrar at ii
amrrar^fit^jr! i
aiftra aftfai
aanpaatrfw i
Tift^ aa^fata ami «
a %f% ^ arraraaf ataa i
attJ « arrenarfaingjftjt! n
( 431 )
V
^r^fVjrsqw tra n
5icrjm%
s» ^
+ + + + + yfcT
^r«ni w^r ^niK t i
ii»a w^Jirrerai
^f«3r T=^: + Tnir»Tc{ II
npifisrT^^ ^
?f HTW>i T^ «faB«wra I
5nr^^rJT^%?rcr i
ftrvrg^rm! u^^igfire! n
fj«flfiT ■g:<0 ^ + +
trftrfretfiriTffi?:
Tjft’n^rprsWHPT JTKf^^ ?w » (?)
'n’jpttTftTffT sB^mx 1 m^ftv ftr
I
( 432 )
4857A,
4834. I Varm-ratnakarah.
By JyotirlSvara Kavisekhara.
Substanoe, palm-leaf. 16x2:J inches. Folia, two leaves without
marks and 13 to 79 of which the following leaves are missing: 14, 15, 17,
19, 20, 26, 27, 51, 58, 59. Character, Bengali of the fourteenth century,
when there was no difference between Bengali and Maithila. Appear-
ance, old, discoloured and damaged. Incomplete both ends.
13A, Tfa ww?:srT«t: stjtt-
’fW ITirff! 21B, ’IW ;
33A, •anwmwsft ’rm sRSitw: ; 42B, "ng^;
55A, o5^nsrnr?jn*i> Rm wN: ; 61 B, owfiftwansit
*rTJ? Wfisr: ; 69B, curarm^insTt *rTiT rthw: wNs ; 70B,
wjfiHJT I JRfiru^r i
77B, wcfttftw’ej’tp?!
(7)
N ' sj
RfT5i: afa«r (?)
>wt jmcnrflTTRT n <(rpst»Rt%
67 A, f^ja^jnsTT i
\ jfKnr^, g ■^df’n^r, 8 •nmrft’rm, i
i, %tn, 4, ^TtcTT,
’Rwnfl, «in3?, \8 sRTORt, xx^m, siiT»fff«r, \'=
\<. sTTwsTC, ybf?, *T^. ’I’l RTJn^, 5^^ ^8 fWww,
^'S + + + H VT^.
g^. g< ■^-
Tn, g« tfjTifHK, Tn?rfwTn, ge. TrftrfrTr, 8. wg, 8\ jfW, 8>^
fiigv, 8^ WT4, 88 RTT^, 88,»raTft, <ii »??*rai, 8® 8^= inmT,
( 433 )
84. irJTTC, 8.0 f*n^, 8-^ *PN>r, wi^wc, 8.# Mcit,
8L8L’jtwI^, »4 WTfTfr. 8.® + f^»TIT, 8L' 8.4 <®
8if^«r, 5hrw, <« ^rrzw, <8.>im, «
<® i?Tfifw, iirew, ^4 W8t, «• f^fw,
jft^T, ®8 «8. w, «< ®a 8r»8:ret f^ran! (?)
In the second leaf without any leaf mark, we have
the following enumeration of castes: —
wjn, tffjff, niTT^, H4»c, H=^®rr, %i?i, syat)wi _
»r^t, jfl?:?!®!!, =rTfTf«T, 'fw rwrfa ww 5H!«8r?r*f
it«yn «T%, Hfsrrr, sRa^nsr , fsB^ni.
’^, Wf pt, ^fTW, wtf T, on oraT afunr. «wlfy, fftTT %fw.
t%CT, ^8pn8i«T, firoT, ftrfswt, %8[s:, awtiir, ■nsyitT, %irt, ^T^fw,
wtlT«if»rT^, sfjr^f, ?n!:«n, ^e?l, fsnw, rfr»i%^, srmw, %toi,
iWl, aifs g»niRmw nrifw tXT5%,
w^wxy, 5n?i, xff^^nox, JsTftr, ony, vx^, ^xf® wn
■<nB;x«[ jftw, jft^st, srxhsf, jxtwnc, Jn^r, iftf »ii»,
jx^imc, ixz^n*rf Txfcirr, ■'xxft, ifx?w, >xxjtc xwfs
jx^xjfhrn sn^ i
4858 .
2843. I Sd.hitya^darpa'm,
By Visva-n^tha.
Substance, foolscap paper. 16x4| inches. Folia, 69. Lines, 13 on
a page. Character, modern Bengali. Appearance, discoloured and dilapi-
dated. Complete.
4859 .
383. The Same.
Substance, country-made paper. 16x21 inches. Folia, 169.^ Linos,
5 on a page. Extent in Slokas, 3,380. Character, Bengali. Date, Saka
1659. Appearance, old. Complete.
66
( 434 )
The Post Colophon Statement : —
a:» |g ^ \4l<. f?rfga>5^’
imr- 1
iTT?fTra?:?rT>i*fngsi (1659) ^[1% l
mro«r5fft*i?rwt % ?nfrar?^ JB g^T ii
inamH g^iut nTsti ^ i
f%%5g fMW'rwjft II
strf) ’iit: I
4859 A.
8157. I Kama-samuhah.
By Ananta.
Substance, country-made paper. 9fx6 inches. Folia, 33. Lines, 18
on a page, Extent in Slokas, 1,400. Character, Nagara of the eighteenth
century. Appearance, old and repaired. Very nearly complete.
The Mahgalacarana of the work : —
’W: I sih: I
T’fTnY «Rm?fg;Tt’nJT«fiT5i5^ I crn T}4fR«-
"fruwgfsrJTW ^ifW:
^31% ftirtTsi:
«r anrfti ficiT^r g
^giT! *nfl»z?rRr wfmranri i
irerf: ^ f’Rf'ttrt w*w ^fT *1* f^sfwa*ftg *
cR nTCTJTRtjfl Tl n Tjspsrftr i
( 436 )
Object of the work : —
BJITJ?! f?r?;WT fVu: ScinT! I
The author : —
»TnT^^?i:sfT%!T + ^»IT I
jT^^3ivnr5tft fv^ n
t «r5r[ T j’ngirsRTftjft i
vfajjr ^ ii
«r«f I a'3r t
4B, Tf«T I i?ifT?i^^T3rTW5f% ; 5A,
rfii ^issrasTO + n«*T«jT^Tnsfr^ ww-
?r>TTH ; 5B, ® e ; 6B, Tfa
^sRTJmq^ WTTaifT5«rsK^ r«inflf2TwrcTTc(w)f^»TJ8’r^'k^^
’NafJDsf ?rj?m ; 12 A, o f»T^|i2rs3(*TtTTK(«)f^JTi8»r^'^fWl^
«cTt f^xrgfa: ?fHmT(:) I
Aufreoht gives the date of the composition of the
work as Samvat 1457. See I.O. Catal. 1242.
The author is Ananta, the son of Tri-mandana, with
the title of Bhisam-mukutltlamkara-harah.
4859B.
5856, I Ekavall.
By V idhya^dhara.
Substance, country-made paper. x 4 inches. Folia, 98. Lines, 1 1
on a page. Character, Nagara of the eighteenth century. Appearance,
old, soiled and pasted. Complete.
A work on poetics on the lines of Mammata’s Kavya-
prakasa. It is divided into eight chapters, called unmesaa.
Published with the commentary of Malli-natha, by
Kamala-sankara Prana-sankara Trivedi, B.A., in the
Bombay Sanskrit Series, Bombay.
( 436 )
Last Colophon : —
w^f^nrrrf’r^jii *iw i
4860.
'7^^6. I Oandralokah.
By Jaya-deva,
Substanoo, oountry-made paper. 13x3 inoheB. Folia 15. Lines, 4
on a page. Extent in Slokas, 180. Character, Bengali. Appearance, old
Complete. Full of marginal notes.
A short work on the Alamkara or rhetoric.
It begins thus : —
ht^ ^ir; n
wftw: fliWTr wt ^ B
’?«r*TT ^ I
’i.'TW! II
It ends thus : —
^rsrsrr %tbto^i »
TRRTwhifTfirsrr’fts^’ »ra^»r i
h:*»k«I‘K« FtTT! I
post Colophon : —
W^JWT* 19 llllliNfNIHTl.' I
^ fni^ HRiTt nawj ixNIt w i%H i i
( 437 )
q a?T ?WTWJT^ ’r ^TxipiiNurrfa n
S
4861 .
11203. The Same,
Substance, country-made paper. 11x5 inches. Folia, 10. Lines,
8-10 on a page. Character, modern Nagara. Date, Saka 1037. Appear-
ance, fresh.
The portion containing arthalamkara. But the title
of Jayadeva’s complete work (Candraloka) is also com-
monly applied to this section.
For a full account of the work see I.O. Catal.
No. 1158.
Post Colophon : —
iga[%
4862 .
10733. The Same.
By Plyusa-varsa Jayadeva,
Substance, country-made paper. 10x4 inches. Folia, 24. Lines, 0
on a page. Character, NSgara. Appearance, discoloured. Complete.
Last Colophon : —
^ ^ 1(4 M U «h I « fat:
srw WTO! I
Post Colophon : —
^ wrrf^’r g aB u firn^T T (The name is
blurred over with ink). WTOWTwt*[>nTOTftWTCT?w»fWTWtr’rT
'wnattfw? TOW ’TO I
( 438 )
4863.
11056. The Same.
With a commentary by Pradyotana Bhattdcdrya,
Substance, country-made paper. 11| x 5 inches. Folia, 2-30 of which
foil. 15 to 28 are missing. In tripatha form. Character, Nagara of the
nineteenth century. Appearance, fresh. Defective in the beginning and
m the middle. Date, Sainvat 1860.
3B, Tfa i 7B, ; 8B, Tfa
Os
jito: ; 9B, jriia: ; 29A, tfa
I
Last Colophon : —
’rm i
e\
Post Colophon : —
(Commentary) : —
wmw: i
&
It ends : —
Ov
*Ft<x(T): II
4864.
874. The Same.
For the manuscript see L. 1784.
The text is by Jaya-deva and the commentary by
Pradyotana Bhattacarya.
( 439 )
4865.
3198. I Candraloka.
By Pljusa-varsa Jaya-deva, son of Mahadeva and
Sumitra.
With a commentary by Pradyotana BhaUacarya, son of
Bala~bhadra, entitled Candraloka-prakasa-saradagama.
Substance, country- triade paper. 12x5 inches. Folia, 26-34. In
tripatha form. Character, Nagara of the eighteenth century. Appear-
ance, discoloured. Incomplete at the beginning.
Post Colophon : —
For both the text and the commentary see L. 1784.
Vira-siihha-deva, whom the commentator speaks of as
the great-grand-father of his patron Bala-bhadra and a
chief of the Vandyela ” clan, seems to be that Vira
Siihha who, at the instigation of Prince Jahangir, assas-
sinated Abul Fazal in his territory, when the latter was
returning to Agra from the Deccan.
4866.
6335. I
Candraloka-tlka entitled {Rakdgama).
By Visvesvara Bhatta, surnamed Odga Bhatta^ son of
Dina-kara Bhatta,
Substance, country-made paper. 10 x 4^ inches. Folia, 103 of which
the first is missing. Lines, 11 on a page. Extent in slokas, 4,300.
Character, NS.gara. Copied in Samvat 1828. Appearance, discoloured.
Last Colophon : —
a.
WTWt tW: I
( 440 )
Post Colophon : —
End : —
Text : —
^wN I
5^TfitvT»t*rmm g^n n
Commentary : —
^TjTfsr^R
Text :-
•ht i « *1 n^i s i
Commentary : —
Tfa ’tmrmoTj Tfa
'F^^f I
naj «i5*rfH V OK’sift ^
»nn?:i»i^w[ 5 r:h i
fFun^T ^iy*tT
N#
^®nr sisi^T^rnfFs: i
4867 .
9671, The Same with the text.
Substance, country-made paper. 14x6J inches. Folia, 4. Lines,
0 on a page. Tripa^ha form. Character, Nagara. Appearance, fresh,
n complete.
A fragment.
The text is well-known and often noticed.
( 441 )
The commentary begins : —
'4^ jriffwnr i
dw^NnR%w?:«rTwt if JTT>t^ i i
ir»>i
WPT »Rrf?T -JTSfWffti [■»]
^^T^hr^TtTsnrTKHmftrw’r:-
ifjn’it wfa i ^ i
s»
nunHfir^fftrnt:
waf i ^ i
wa frgfnw^aigi?:®^ fsr^i-
ftmra arrms-^flif ifgafat JTfwra -n faa^ifa i
I twtIt I
4868.
8523. I Candralokah.
By J aya-deva otherwise called Plyusa-varsay with a commen-
tary entitled Rama by V aidya-nUtha Paya-gunde,
Substance, country-made paper. 13x6 inches. Folia, 67. In tri-
patha form. Lines, 13 on a page. Character, Nagara. Old.
The text is given in the middle with the commentary
above and below it except in some, as the first page,
which is entirely devoted to the commentary. Both the
text and the commentary are complete in 67 leaves. The
chapters of the text are called Mayukha, and they are 10
in number. The slokas are numbered in a consecutive
series omitting hundreds. The text ends : —
ttti t Pnn< r i TT ^ ng i
56
( 442 )
X X XI
X X X X XI
X X ?r«iT^ JcfnTT i
fvK iTTfa n
The commentary ends : —
tfir Tfa ^jf:
fir?: ■n’sfT’sft^! JT^§i??rf?sr:” rftt
Ov
<traT^ I ('olophon of the commentary, yf^r
fysiw: I
The commentary after the usual mangalacarapa
says : —
nm ;pt [a:] i
^TT^ST #
4869.
5825. The Same.
Substance, country-made paper. 11x5 inches. Folia, 72. In tri-
patha form. Character, Nagara of the nineteenth century. Appearance,
fresh. Complete.
The commentary begins : —
sfw: I
yTfv^WH
«inN?ra^«aWW i
fWTOPsr irtajvn!
V»
siiwfT?Tmm irig ht«^! i
( 443 )
?:m^t «jg% 'n’jrT^% ii
uai ?r*Tn5Tf^-5fa^5WhT9OT»n^
wgfnaaiffT "n
fwifil'snt 9iT»?iT®^tctJiiT «ig^irtft f^wvrfa
I
Colophon : —
t;?rTfv^ ftwT?r: i
Post Colophon : —
qaj^i^Ts’t^T ^oo jjw i
4870.
4594. I Alamkam-kanstuhhah.
Substance, country-made paper. 17^X6 inches. Folia, 110. Lines,
14 on a page. Extent in Slokas, 6,000. Character, Bengali of the nine-
teenth century. Appearance, fresh. Complete.
A well-known treatise on rhetoric, by Kavi-karna-
pura, one of the followers of Caitanya. The work is in
ten chapters and the illustrative slokas are all in praise of
iSrikrgna. See L. 1662.
The author wa.s the son of Sivadasa Sen of Kacra-'
pada. He saw Caitanya and wrote many works of the
sect during the middle of the 16th century A.D.
Last Colophon : —
T(*u!isrri,^^il’ Tf«rswi;jifl »rw ??«:*?: fsB^ar: i
Post Colophon : —
( 444 )
4871.
3709. A commentary on Alamkara-kaustubha.
Substance, country-made paper. 12x4J inches. Folia, 62. Lines, 12
to 15 on a page. Extent in slokas, 2,200. Character, Bengali of the
nineteenth century in a beautiful small hand. Appearance, fresh. Com-
plete.
Kavi-karna-pura wrote a work on rhetoric, entitled
Alamkara-kaustubha, with sutras and vrttis. This is a
commentary on that work. For a description of it sec
L. 1663. Rajendralala’s manuscript was incomplete. But
this is complete in all its ten kiranas. The name of the
commentator is Loka-natha Oakra-vartti.
4872.
3908. I Sahitya-ratnakarah.
By Dharma Samkhydvat (?).
Substance, country-made paper. 12^ x inches. Folia, 79. Lines, 9
on a page. Character, Bengali of the eighteenth century. Appearance,
fresh. Incomplete at the end.
For the beginning of the work see H.P.R. Vol. II,
246.
Colophons : —
fsTJCfflTT
]?rW ’nir
; 19B,
’"I'TOTO fk^hnjRir* ; 32A,
( 445 )
o VIST’S arm ; 38B, rf^
^g*rT [ f ] wrftmTHf^
arm ; 42B,
xf9 ,
'^^Rn^T^cTT
5FrTf^Ti5rT^arTiT^^l^?:9iTO *^w 1JWW* ; ''9A.
jf^ 3ETTfT<*nC^Ta|\lCarmT^SrT^:W« ^WWTKf^Wm ^TIT I
The 8th taranga is incomplete. We are told by
MahamahopMhyaya Pan^ita Sadasiva Misra that this
has been printed at Vamra, under the patronage of the
Raja, the work being very popular with the Udiya
Pandits.
The author is Dharma, an expert in all the fourteen
branches of Sanskrit learning. His father was Parvatesa
proficient in all the six systems of Philosophy. This is an
original work in which all the examples have been culled
from the accounts of Rama.
4873.
5154. The Seme.
Substance, palm-leaf. 14|xl4 inohas. Folia, 128, of which the 2nd,
3rd, 10th, 11th, 66th, 77tb, 86th, lOlst, 12l8t are missing, while the num-
bers 91 and 111, mark two leaves each. Lines, 4 on a page. Extent in
31 okas, 3,400. Character, Udiya of the seventeenth century. Appearance,,
very old.
To the end of the 10th taranga.
This is a new work on poetics, of which only one
incomplete MS. with five tarafigas was known to Aufrecht
and that was noticed in H.P.R., Vol. II, 246.
8B, v.
^T^r««T»nT(T) «w«wniw i
•
( 446 )
a^Twyt^nis® renrffT^fw ■<nf^s^’ cttw = ii
\>
Sifd^C'M^i ^'^*rT^r% 5n^^^iiiT*f i ^ i
17 A, Tfii firfftwKf!
cT^«^fji^TTf^gfr^?iTw ws^^T’rijaS'^i^rTfT
26B, v*Rf^o s^r s^hrei?;^: i
Tftr «fl+llf'?(tli(«H»*l W^aiTSlfilTTTmW^ :
«n«ifr^?:-fHt^TT, etc.
>s!r«r f-nsqsrtw^ ^raninHTWTfT *i4^ srT'srfiiiaygm
*1
^^«vi^^rir»?iwrg nifraiBwicT 5fipR i
31A, wif^e 5;^
Hireiwf^cfH^rr, etc. cTsf ?rg^mw|'(fNrT«iia?m
jrfs ^i«ii«fmt!ii«T'^ffl inrr4^f?%ai5raT avxsrwTfj a? tm f>f»ffaBiTfTT*T i
.S5A, v»*jf5fi ea^rffts^
^TTWnfs^CfiTf^KT, etc. «roT?IjrTrT f«f^X5W I
40A, vsflfsfl. ^^KT- I
^i^sira'^c, etc. aim^rf’sri'tCT^ fsT^af?n®’T ^?T^aiTT sr^fcr i
81 A, ■a^5¥T4ffiir=ITffltqft®filfH;jfl'
•jrajT ifT^T?;vrTT ?igfna ^Tcr^m: i
'fij^qaqin: «5f%a«jm^44i qnkT»jcr
^rT^tTr ii
etc., etc. ?TH*rlff«r ef^'j;'- i
etc.
qrr^r^rTJTRrqr^fflfiw iqnrftR^ Tl*RrfwhTTfqf?T
87 A, VJwf’fjqffiir, etc., etc. i
etc.
( 447 )
’CJt ^T3i«nJTr;fiin^jiwf»TtiT*r Hf«Hsr% i
98B, VJflfsrT^fftr, etc.
H ^ flT^jg^^fTJrmsrr a^msTTOtm'
fw’st^rfif sT^Trt ^KT' II
^mi»Tf55[r, etc.
^T5i5rgd wig*!! tr^ urnrnmr’i t»T
3f l
It ejids : —
'«rejT>T%?:ftrf^tT5>nfV5ft ^riJTTWsr-
^Ji?: ?lfin*pftT5d fa»nr?r «lf¥<II?3tT^' II
■SR^;?: sfsrqflajfli: i
ST^aTf^a^astiftfiraHRSltg^rsqTf^aT
frts^r ?rTTftr%«j trerfa *r»T gsf: vasq: wa' i
^rtsT ^
aasRtj^rJctfiT tJnjT ^aff! ar angsig ii
Ht wa: arfaa fra *m ra: faifiia ^wrawa
^waTHjTffTJza^aaeft iro^a wtott: i
aft ar ft^(?)arren|afqfaaT%aTfHWT^t »Taa ii
ar^tat Tftai’a^ flTfa a: ^Waaat!
a^ nJaarrftJiiT sffaaT^atrapfNTwfa: i
v»*if^a ap?tfa®T f^f^: atpsgat atfaiT
afhf axafawtaaf ftaaat arfrancsiT^! ii
ajft %%i?aT^i
( 448 )
4874 .
3035. I Cittra-mimamsa,
Substance, country-made paper. llJxS inches. Folia, 62. Lines,
12 on a page. Extent in slokas, 1,900. Character, N&gara of the eight-
eenth century. Appearance, discoloured. Complete.
An anonymous manual of rhetoric. For a full des-
cription of the work see LO. Oatal. No. 1172.
4875 .
2934. The Same.
Substance, country^made paper. 10| x 4 inches. Folia, 45. Lines, 10,
11 on a page. Extent in slokas, 1,860. Character, Nagara. Date, Saravat
1666. Appearance, discoloured. Complete.
The date of the manuscript is Samvat 1666=1610
A.D.
IRU t.'SHL* I RTWfl I
See I.O. Catal. No. 1172.
4876 .
2723. Thi Same.
Substance, country-made paper. Ux4i inches. Folia, 34. Lines,
10 on a page. Character, N&gara. Appearance, fresh.
For the work see 1.0. Catal. No. 1 172. It is a manual
of rhetorio. This manuscript is incomplete. After the
end of Riipaka'prakaraQa, it has two leaves only.
Eggeling says, in his I.O. Catal., it is by an unknown
author. But Aufrecht gives the author’s name as Ap-
paya Diksita.
There is kept a stray leaf with this MS.
( 449 )
4877.
9729. The Same.
Substance, country-made paper 12x5^ inches. Folia, 14. Lines,
12 on a page. Extent in slokas, 480. Character, Nagara. Appearance,
tolerable Incomplete.
This is a work on rhetoric. The MS. is incomplete,
and the author’s name can not be ascertained.
Beginning ; —
li
fwcn! 'gfW ctT^amT:
ffw:
fntro snW II
cTWW %5tT %TbTfi: fniTnai fw^frenTwiS^
wflTurfnaTf9imftT«r%^T^T fnKf^t^'^cTFtVbift:
qTtq»?RnwT%^ u^«ifs<iifq arf^PinTT wnrarawT 3^% j wfq i
4878.
3146. r? ! T i *1 i i
GiUra-mlmamsa-gudhartha-prakasika.
By Bala-krsna Payagunde.
For the MS. and the work see L. 4097.
The Post Colophon Statement : —
57
( 450 )
4879,
9000. I Kiivalayanandah.
By Appaya Diksita.
Substance, country-made paper. Ilx4i inches. Folia, 61. Lines,
10 on n page. Ext(‘nt in .slokas, 1,000. Character, Nagara. Old. In-
complete.
(1) Incomplete. Leaves from 1 to 51, with valuable
marginal notes.
(2) Another incomplete copy with a commentary
from the 68th karika. Forty-two leaves.
Su})stance, country-made paper. 9x4 inches Folia, 42. Lines, 10
on a page. Extent in .slokas, 860. Character, Nagara. Fresh. Incom-
plete.
4880.
8547. The Same.
Substance, country-mad© paper. 10x4 inches. Folia, 38. Line.s, IG
on a page. Extent in slokas, 2,500. Character, Nagara. Date, Sarpvat
1721. Appearance, old and fresh. Complete.
Written in Jaina Devanagari in Sainvat 1721.
^S5{T^%T ftsnrw I
II
The Last Colophon : —
>r5a[s ^wriT! i
( 451 )
The first leaf of this manuscript was fragile with age
and so another piece of paper has been pasted behind it
to protect it from destruction. On that piece of paper is
written first five lines of a work on Sankhya : —
4881.
8548. The Sam.e,
Substance, country-niado paper. I0ix5| inches. Folia, 24. Lines,
10 on a page. Extent in slokas, 700. Character, Nagara. Appearance,
fresh.
4882.
9140. The Same.
ISubatance, country-inado paper. 10 x (5 inches. Folia, 67. Lines, 10
on a page. Extent in slokas, 600. Character, Nagarn. Appearance,
tolerable. Written in a largo legible hand. Incomplete.
4883.
9141. The Same.
Substance, country-made paper. 11x5 inche.s Folia, 10 (26-36).
Lines, 11 on a page. Extent in slokas, 270. Character, Nagara. Ap-
pearance, tolerable. »
A fragment of the preceding work, with f. on
the left hand margin.
4884.
9139. The Same,
Substance, country-made paper. 11x5 inches. Folia, 48. Lines, 9
on a page. Extent in slokas, 550. Character, Nagara. Appearance,
tolerable. Incomplete.
Frequently printed in India.
See I.O. Vol. Ill, p. 335A. No. 1161.
( 462 )
4885 .
9391 . The Same,
Substance, country -made paper. 11x5 inches. Folia, 43. Lines, 12
on a page. Extent in Slokas, 1,290. Character, N&gara. Appearance,
old.
It is an incomplete MS. of a well-known
work on rhetoric, by Appaya Diki^ita.
4886 .
9357. The Same.
Substance, country-made paper. 9^x4 inches. Folia, 11. Lines, 10
on a page. Extent in aiokas, 220. Character, Nagara. Appearance,
tolerable. Complete.
A well-known work on rhetoric, based on the Candra-
loka of Jayadeva.
4887 .
8556. The Same.
Substance, country-made paper. 11 x. 5 inches. Folia, 50. Lines,
10-12 on a page. Extent in Slokas, 1,000. Character, Nagara. Date,
Sam vat 1889. Appearance, fresh.
Incomplete from leaf 26 to 75, copied in Sam vat 1889
by Asananda for the use of Sadasiva,
4888 .
5836. The Same {here called).
I Laksyadaksana-samgrahah,
Substance, country-made paper. x 4 inches. Folia, 29. Lines, 10
on a page. Character, Nagara of the nineteenth century. Appearance ^
fresh. Incomplete at the end.
Mangalacarana : —
( 463 )■
HTttrfuad 51^ stmR^t >5PT! «
^jf: flr % lU^f^ W^' »
The object of the work : —
^rftrcTJ ffpnt %irT ^^rsr^T^ir^rerf * l)
^ fcix ^^ET^T^j^ir^T^r^T* wrt^T* i
5TW v:^ ^infHart^nHfksT^T 1%r«*J^ B
4889 .
5699. (fw^iPT^^) wirnci^ I
Kwvalayananda-tlka entitled Alarnkara-sudha.
By Nagesa Bhatia,
Substance, country-made paper. 10 x4J inches. Folia, 77. Lines, 19,
21 on a page. Extent in Slokas, 6,000. Character, Nagara of the nine-
teenth century. Appearance, old. Complete. Written in a very small
hand.
The commentary begins : —
^irSirnr i
*itw »
( 454 )
Colophon : —
Tffr
^rarK^vr i
4890 .
9001. (f*ra'*lT5f5^fNfT) I
Alankara-Candrika a commentary on Kuvalayananda,
By Vaidya-natha.
Substance, country-made paper. 11x5 inches. Folia, 69. Lines, 15
on a page. Extent in Slokas, 2,000. Character, Nagara. Old. Fresh.
Complete.
Complete in 69 leaves.
See I.O. Oatal. 1168 to 1171.
The colophon runs thus : —
Tfii iR5rtwiUTTi0T[-a^?r^w*r^Tm»r-f?i*rr«f-
I
4891 .
8549. The Same.
Substance, country-made paper. 10} X 6 inches. Folia, 11. Lines,
11 on a page. Extent in §lokas, 330. Character, Nagara. Appearance,
fresh.
A commentary on Kuvalayananda. Incomplete.
Beginning : —
jrannr sth: ’W! i
jnrrwnjff i
{ 455 )
4892.
2933. The Same.
Substanco, country-made paper. 12^x6 inches. Folia, 32. Lines, 8,
y on a page Character, Nagara of the nineteenth century. Appearance,
fresh. A fragment.
See I.O. Catal. No. 1168.
The commentary has, often, been printed along with
the text.
4893.
10861. The Same.
aubstance, country -made paper. 13x6 inches. Folia, 70. Lines, lU
on a page. Character, modern Nagara. Appearance, fresh. Incom-
plete at the end.
Beginning : —
sm: i
jiaf ii
8B, Tfa
It ends in the discussion of Vyaja-stuti.
4894.
8551. 1 R^lil I
Kuvalaydnanddnusara-kdrika,
Substance, country-made paper. 10x4 inches. Folia, 18. Lines.
5-6-7 on a page. Extent in Slokas, 216. Character, Nfigara. Date,
Samvat 1811. Appearance, fresh.
ww «rTf>!rir ^
wt5R»reRgi fwfisii wait^T^jr^ uai i
{ 456 )
The Last Colophon : —
Tfif f fw^rrjrJ^TgmifTirrfiT^fT ?wim i
It begins : —
4896 .
3147. or I
Alamkara-sara-sthitih or Kuvalayananda-khandanam,
By Bhlma Sena,
For the MS. and the work see L. 4084.
The Post Colophon Statement : —
The work was written during the reign of Ajita Simha
of Jodhapura.
^ Wisref i
^ WTftr ^ I
w II
’ 4896 .
555. The Same,
Based on the expositions of Deva-ndtha Tarka-pancdnana,
Maha-mahopadhydya Oovinda, Jaya-rdma Nydya-pan-
cananda and others.
For the manuscript, see L. 1447.
The second verse of the work : —
5r finrfvrj t li
OT«5m i
wv:m ^ i
( 457 )
There is no iti before as in L. The portion
given there as colophon is a part of the text.
4897.
1301. I V rtti’Varttikam.
By Appaya-Dlksita,
Substance, country-made paper. Il|x5j inches. Folia, 16. Lines,
12 on a page. Extent in Slokas, 450. Character, Nagara. Appearance,
old. Complete in two chapters.
An argumentative treatise on the threefold import
of words viz. Abhidha, J^aksana and Vyakti as accepted
by rhetoricians illustrated by apt examples. The present
MS. contains two chapters devoted respectively to Abhidha
and Lak^ana.
Beginning : —
’W! I
ft’s i
snife ii i, «
9irf^ qjPifT^^T »r I
^ra^iff^iwnfw! ^ n
It ends : —
•r
»r ?rrsj»^ i T^Krtro! i
Colophon : —
58
{ 468 )
Post Colophon : —
(1 II
4897A.
1796. The Same.
Substance, country-made paper. 8J x 3} inches. Folia, 16. Lines,
1 1 on a page. Character, Nagara. Appearance, tolerable.
It is a work on the imports of words. The present
MS. contains the first two chapters only, Abhidha and
Lak^mana. Aufrecht knows also of Vyakti the third
part. But the first two chapters only are printed in
Kavya-mala 36.
The Colophon of the first chapter : —
lOA, Tft i
The Last Colophon : —
4898.
1586. I Rasa-Gangadharak.
By Jagan-natha Pandita-raja,
Substance, country-made paper. 14x5^ incho.s. Folia, 204. Lines,
11 on a page. Character, Nagara. Date, Saipvat 1934. Extent in Slokas,
as given at the end of the manuscript, 7996. Appearance, fresh. Com-
plete.
Often noticed and printed in the Benares Sanskrit
Series 1886, with the commentary entitled Guru-marmma-
prakasa by Nagesa.
The author is well known. He was the court pundit of
Dara Seko, the eldest son of Saha Jahan, who was Subadar
of Agra in 1658, when war of succession broke out. Jagan-
natha was the pupil of Peru Bhat^a who studied Vedanta
with JMnendra Yati, Nyaya and Vaise^ika with Mahendra,
( 469 )
Purva-mimamsa with Deva ” (which the commentator
Nagesa explains as Khanda Deva) and Paniniya Maha-
bha^ya with a member of the Se^a family who is identified
by the commentator with Vires vara. Nagesa was perhaps
the pupil of Jagan-natha as he names his commentary as
(htru-marma-prakasa. This is very probable as both
Jagan-natha Pandita-raja and Nagesa were very long-
lived.
fSee L. Vol. IX, No. 3014.
4899 .
9377. The Same.
Substance, country-made paper. 9^x4 inches. Folia, 268 (181 + 77
leaves). Lines, 11 on a page. Extent in §loka«, 0,241. Character,
Nagara. Appearance, old. In three different hands.
All elaborate work on rhetoric and literary criticism.
4900 .
9849. The Same,
Substance, country -made paper. 9|x5 inches. Folia, 42. Lines, 11
on a page. Extent in slokas, 1,000. Character, Nagara. Appearance,
fresh.
It appears to be a fragment of Nagesa’ s commen-
tary on Rasa-Gafigadhara, as noticed in I.O. No. 1204,
p. 349. It bears neither the name of the author nor that •
of the work.
4901 .
9536. I Kdvya-vildsah,
By Cirahjlva Bhattdcdrya,
Substance, country-made paper. 11^x4 inches. Folia, .31. Lines, 7
on a page. Extent in Slokas, 682, Character, Nftgara. Appearance, old.
Complete.
( 460 )
This is a work on poetics by Ciranjiva, the author of
Vidvan-moda-tarahginl.
Beginning : —
aiwiPtfu-w^rfipTi
Hsg » \ II
^ ^ «r war Bcurt Jifftfu: i
anraiftTfu n ^ «
Jiftr^rg nm %a:,
trt: I Hfiir nfftra>rtfsw ^nfiT
SI
ijmn: ^ TTfk^ I
^ci*i ^Jlfd *rJT^
'BjnUT'fi'BP ■UT^ II II
srafw urnhwHurarw: « g «
■ «T«!W’5a ft^taa i Ti«nf^ i
End'.-
ar Ptfin iii ft f u iT l f agfi ! ^
ufmrwgpfTrrR Tfr ^ i
Tff^ «raf «rfr» ilUT «
Colophon : —
7 B, ife WPft
rr«Rn wfirs i \ i
( 461 )
Last Colophon : —
Tffa 41 f«l fli I ft OT3rT?;JRT?l
I I
4902.
2905. The Same.
For the MS. see L. 4125. It contains two chapters
only
5B, Tfif ^rarfiwi% wfy: ; ^rayr?;-
flr4l — the last colophon in the present MS.
The Post Colophon Statement : —
JTT3T ^ fwf«ii rfl?*rf«’rwafTW-
fwftgtifl i »w1
41f^i
For the beginning of the work see Bik. 285, in whicli
the author promises to give the examples in verses of his
own composition and his example for Jtftr: or re-
verence for the guru runs thus : —
5 HS|^:
WW*1 « \ n
1 1 A, ftvrt
vtS sir'jfw’J’l
tfrir?{ ^Rvnrfcr wmqf^brfwi! i
16B, «rej JTiTsfit
( 462 )
m^Tcj
18 A, ^cTTcd
wW«r
^rjBv II
Our MS. does not contain the author’s name. The
Bik. MS. gives his name simply as a Bhattacarya.
Aufrecht’s information is that it is by Ciranjiva who
flourished in the beginning of the 18th century under the
patronage of Yasov^anta the then Naib Dewan of Dacca.
But the previous number gives his name as Ciranjiva.
Baghudeva mentioned as the author’s guru in the verse in
5B quoted above wrote a commentary on Padartha-tattva
in A.D. 1719. He speaks further of Jaya Simha whose
whereabouts, are not known. The only work he quotes
from is Alamkara-sekhara. But the date of the present
MS. Samvat 1732 — 167 () A.D. is too early for the author-
ship of Ciranjiva.
4903.
9393. I A lamkara-manjarl.
By Nlrmala Bhafta, the son of Vallabha Bhatta
of Benares,
Substance, country-made paper. 13x5 inches. Folia, 4. Lines, 11
on a page. Extent in slokas, 200. Character, Nagara. Appearance,
fresh. Complete.
A short treatise on rhetoric.
Beginning : —
( 463 )
’*tHI«^Tf5nirT + ^ II
^TgfiT^JT*l«H'UCT*I^*t ^sTTOSf ■? I
End : —
^rm —
^'yTf«r <T^ IT^3t % I
’I’rfft -jn^^Tir^fci ftt^s ii
?iRTf5tjrT?;sncT gjsqiicn^^wf? i
f^^T! || B » ||
^naf =t?iPTHf^ B%jn f!r(frt)Tjrrnf^ i
fsr^5tr f»r^5rn5«T K'apjnrr^JT^ft B ^\ n
Colophon : —
Tfa ^htwt i
waa I ^Taiii^ 8 wtJTaret ’4\^Tfst«(iT^ai:?;T3jaT’at
aiTsai I w Has '
4904.
9256. The Same.
Substance, country-made paper. 11x5 indies. Folia, 4. Lines, 11
on a page. Extent in slokas, 200. Character, Nagara. Appearance,
old. Complete.
After Mangalacarana it has : —
ill?: I
a^atftRfatirf%«Tr^%«ifal:^faHTaaT T^arfa i
End : —
«rafwrT?:»iTtr fr 5»?i^taTa^a f?
( 464
■f" + + + 4*
+ + + + W w r t w g C t II
Colophon : —
Tftf jewim i
4905.
10621. I A lamkdra-samgrahah .
Substance, country -made paper. 11x6 inches. Folia, 10. Lines, 14
to 18 on a page. Extent in slokas, 800. Character, Nagara. Date, Sam-
vat 1913. Appearance, fresh. Complete.
Colophon : —
Post Colophon : —
50 4 f!r%er jr®^.
?:TO?rT&»r 1
In a dififerent hand there is a line, containing a strav
verse.
The Mangalacaram and the object of the work
>rir: 1
( I )
mW«TT^TarimJTtm»(Tf(T! I
®RT^Tai( ■ )ga5Tar h
^ rraif aBtr?i* t iT 1
vfrti n? 'stftm 1
^ ^I KWy<n ri 4<i.*ii II, etc., etc.
( 466 )
4906.
6580B. I Kavya-candrikS,.
By Nyaya-v&gisa, son of Vidya-nidhi.
Substance, palm-leaf. 14i x li inches. Folia, 4. Lines, 4 on a page.
Character, Udiya of the early nineteenth century, Appearance, good.
Incomplete.
An elementary treatise on rhetoric. See L. 639.
There are four stray leaves.
4907.
4597. The Same,
By Rama-candra Nyaya-vdgUa,
Substance, country-made paper. 16Jx3J inches* Folia, 4. Lines.
(> on a page. Extent in slokas, 120. Character, Bengali of the nineteenth
century. Appearance, fresh. Complete.
An elementary treatise in verse on Rhetoric,
For the beginning of the work see L. 639.
It ends thus : —
Colophon : —
Tfif ^w^» i{an a i^ uftiPTgnm fi ^ : f^ a T anaf-
^f^xarr ’awTHT i
4908.
5272. The Same.
Substance, country-metde paper. 13| x 3 inches. Folia, 8. Lines, 5,
6 on a page. Character, Bengali. Date, Saka 1734. Appearance, fresh.
Complete.
69
( 466 )
End \ —
Tfs fwnsra! i
«wsai%%?(T xrai-ifk^^ % n
s»
^T*T^i^>*imT>?hif*rf4RtT I
^ ’RTSB’npjnrr irar wi w ii
Colophon : —
Xfn WTHT 1
Post Colophon Statement : —
ftfPsar ^km>inrit^wT i
VJ:% {\®^8) 5%5t »
wrrtfcni •^t?:T^r i
4909.
6268. The Same.
Alias Oiinalamlcara-dosah.
By Nydya-vdgiSa, son of Vidya-nidhi.
Substance, country -made paper. 14x3 inches. Folia, 11, Lines, 4
on a page. Extent in Slokas, 110. Character, Bengali of the nineteenth
century. Appearance, fresh.
An elementary treatise on rhetoric and composition.
For the beginning of the work see L. 639.
It ends thus : —
wi ?nn i
M
There is no colophon but it appears from previous
numbers that the work ends here.
( 467 )
4910, 4911.
952. I Kavya-kaimudl.
For the manuscript see L. 2044.
. A concise treatise on rhetoric, leaves from 29 to 34 '
are missing.
4912.
1096.
A nyokii~mukid,vaU»
By Soma-ndtha.
Substance, couQtry-made paper. 10x4 inches. Folia, 11. Lines, 9
on a page. Extent in slokas, 190. Character, Nfigara. Appearanee, old.
Complete.
See Bik. p. 285.
A treatise giving hundred examples on the Rhetorical
Figure known as Anydkti.
Beginning : —
+ + + + + ^ I
It ends : —
WlflPITBTW^'Ert
^TTBfw: gjsgl-
JCfBBfWWfiWT II II
Colophon : —
giwSW WfiTTHT I
( 468 )
4913.
6154E.
Substance, palm-leaf. 14Jxl inches. Folia, 4. Lines, 5 on a page.
Character, Udiya of the early eighteenth century. Appearance, old.
Incomplete at the end.
A treatise on rhetoric. The MS. being incomplete,
neither the name of the author nor the name of the work
appears.
It begins thus : —
wtum I
sRf^aT «T ^■n?«nf«r»*i’sgf^vT ii
4914.
2174.
Substance, country-made paper. 10 x 4J inches. Folia, (by oounting)
8. Marked from 2 to 10, of which three are wanting. Lines, 17 to 19 on a
page. Character, Nagara of the eighteenth century. Appearance, dis-
coloured.
This is a fragment of a work on metres and the
figures of speech.
It begins from the 30th sloka of the first chapter.
8B, Tffi ® ^ jfhT»rT<j I
It abruptly ends with, the 66th verse of the fourth
chapter.
( 469 )
4B, >rwr^(5*riftTi ; 5A, itr^hr*rTf?i!, ?t»nft«;»rtfw ;
; 6B. ^^hrc^rTfs:, iTT?t^c»rTf(Ti ; 6A,
’TTfa;, 6B, ?ffts|[<i?srTftr: ; 7 A, w4a>HH*rTffr: ; 7B»
'^hWI^mSPCSTTf?!!, ??li5tTsnfcr: ; 8A, ’TTIT'TTil’rTfa!,
anfa:, ; 8B, 9 A, «iiT^srTfit!,
«inr5rT<fn:»nfs! ; 9B, ^?arrfa:, ^ftfr^tsTTfas,
wrfat!, ffS5iT<i*t*rTfeT!, Tfer fiiprrgH»i;
wfftnncjn^HH, ?W5^5TT»;;
«IHTf»Hfr^*T ; lOB, «WT«5KJ^, fassfl-
^^nJTJW, *TT^T^«T^JT, f%5^^tTaR»T, , V^T^iaaifJT;
The MS. breaks with the example of Sthana-
cyutaka.
4915.
9205. I Bandha-kaumudl.
By Qopl-naiha,
Substance, country -made paper. 11x5 inches. Folia, 4. Lines, 17
on a page. Extent in Slokas, 350. Character, N&gara. Appearance,
fresh. Complete.
This is a short treatise on that portion of Rhetoric,
which treats of the arrangement of letters in a verse
in various figures such as representing a lotus, knife, etc.
Colophon : —
Tfa ^WTHT I
It begins thus : —
'# ^\jninTT«nif w i »ih! i
§3wn:! I
w^inn^
WT RTSTRin^ 5NflT I W
( 470 )
5wf^[ i
^smwTfT^ <wunq^ »n% \ I ^ I ^ I • I II < I® 14 1
It ends : —
f?:»rw^! ^WT! I
in iiWT 4wn tuiT ^ nimfiT imr wt i
«n tar imai ^«n ^waiai « \i.< i
in%5 fmfiant^ ^ssria i
f^ir( ‘ ^ ^gtanroa^ » i® n
®na^5?®r4!a! i
®H Bi » w a wt a g« Hf^«in-aa-yr-aigi?f-finn»wft i
wi*n?T iw mn wan aamr n ii
^fiera^vt aifT i
wtsHt wa^aar famaan fttaiw i
aanaiaaaT « i4 ii
tirgwnftq:fw i
ins atmarcT ^ na^frasa^faal^
f^T HfaaT imn arn??T aiiarf^T i <• i
wrg arwnKTafhrnTfraniaTaTfa i
a^wai aaiaifawiHiii aat w'awan e i\ it
aaT I
wr % «rag fliSW ^ i
saB® aaar arajt w iraafti afs! i I
ftRifa a»a*^ar Paailiaiiaift^ i
^rfif arm arait am miwfin wfa! « i
■ffa ^aiftta^aifa^mmftar
ftH a aaa gift jfWVirat arfHf! i
( 471 )
Colophon : —
rfa aW«}\’iniftTfnnT aflTKT i
v#>I
4915A.
8069. ^p T <Hi;ng^r »T ^ T I Kavi-sarani-dlpika.
By Ratneavara.
Substance, palm-leaf. 12 x If inches. Folia, 40. Lines, 6 on a page.
Extent in Slokas, 600. Character, Newari of the seventeenth century.
Appearance, old, discoloured and worm-eaten. Complete.
A work on composition : —
SJJT! I
irfiraftwirarsnrft’ h
TT 5<Ti’r-3rer»r-w»r-»ra1mT! i
p
arrarmt m»rm ii
I
at ata»{ ff OTf!« i
( 472 )
fnrx l
^ xrrt wt w% (?) »
% 5HWTfiT?r% I
JTrar%^)qft^f^ xtf*raTO«im>i.^ «
ft?rPfTJTT^x0mt i
xnf«! ?nirwf5??fm:fnc?'n>?i«Rn;’nTgt1’ ii
wfTwi(0 ^ftrafrirflTJWT^cTfei^! i
f^nwTtsftnft?! i
af^sfi aftfnatfarafq?: ar?p;! i
Htift’5ti^?rftr(fis)a5! iffaa: qfaftalr II
a^T?n*r! afr«a*5 xnfrfHciiraTwaTn! i
xft ta?t?x!tfTasrmTftf wsxt fwa j
i^rhw^ TSfare xfa htwtWi! i
wft:a-aifti?V«TgfmawT ^ftpfiT n
^fq% rfir sfjrfa iifjnr*Tfe’fnTW ii
«r»i'!na4[sr]fafiT)E^Tftcrafij famfii i
^itfaafjTa «wat ai^ffirr <(tPi«xrT «
TOisTT Kfrax fipswi awfri: ffiBaT^raxt^ i
9Pff%x;fix ax:nfl' tfrainn^a faw ii (?)
C\
vw*? atf?w9f^«w(Yt)fxnj >zw fir5*rr i
firaita ^iT^TTOun *r^t frr fr n
'wa!KT»rnc?fa^(iT!) aftrpn»tf»jfi8i%! i
^*)j§aT a jar[’] aa a^ar i
a^wn*(fOT araa xR wa i
wfw XCT saict fwipr: i
Naya-Sarma-dlk^ita was a well-known professor of
Madhyadina-8§kha. His grandson was Vidya-nidhi. His
son was Visvaqjbhara Agni-hotri who kept three fires. His
( 473 )
son was BhogTsvara Avasathya. His son was Ganga-
bhrama who was sometimes called Devesa-purohita. His
son Ratanesvara was a quick versifier. He is the author
of this work.
Colophon : —
■ 25B, Tfa '
*31A, Tfh
33B, ® ^rinw! i
40A, • i
Last Colophon : —
® I wma ai^^nfwflfaasT a%aifT i
60
RASAS OR POETIC SENTIMENTS.
4916.
10889. I Basa-taranginl.
By Bhanu-datta MiSra.
Substance, country-made paper. 12x5 inches. Folia, 38. Lines,
8 on a page. Extent in Stokas, 760. Character, modern N&gara. Ap-
pearance, fresh. Complete.
Last Colophon : —
r »f (fnTTnnr)»rffl
A well-known work on poetic sentiments. In eight
chapters.
See I.O. Catal. No. 1211, W. No. 824; Aufrecht Cat.
Bodl., No. 506 ; L. III., p. .'$11 ; Burnell, Tanjore MSS.,
p. 57 A.
4917.
9857. The Same.
Substance, country-made paper. 11x6 inches. Folia, 27. Lines, It
on a page. Extent in Blokas, 676. Character, Nagara. Date, Saipvat
1904. Appearance, tolerable. Complete.
Rasa-tarahgini, a treatise on poetics, by Bhanu-datta,
the son of Gaiia-pati-natha.
Colophon : —
irfvfiwifiraWrt
if fwfwf i i
( 476 )
4918.
632. The Same.
For the manuscript see L. 1291, and for the work see
I.O. Catal. No. 1211.
4919.
9666. The Same.
Substance, oountry-inade paper. 15 inches. Folia, 10. Lines,
17 on a page. Extent in Slokas, 900. Character, N&gara. Appearance,
tolerable.
4920.
2796. I Rasa-man jarl.
By Bhanu-kara son of Khagesvara or Oanesvara,
Substance, country-made paper. 11^x3 inches. Folia, 1 to 16,
a leaf without any page mark,’ and the last leaf marked 22. Lines, 6 to 7
on a page. Two different hand writings. Character, Bengali. Saka,
1651. Appearance, discoloured.
End : —
fm nifftw X X X X I
X X X X wa’fremrft’iT
Colophon : —
Post Colophon : —
aww: I
4921.
9664. The Same.
Substatioe« country-made paper. 15x6 inches. Folia, 10. Lines, 12’
on a page. Extent in Slokas, 456. Character, N&gara. Appearance,
tolerable. Complete.
( 476 )
4922.
9630. The Same.
Substance, country-made paper. 10x4^ inches. Folia, 25. Lines,
9 on a page. Extent in Slokas, 660. Character, N&gara. Appearance,
tolerable. Complete.
Post Colophon : —
'snrxTNjf 11% (\8s®) i
•ijafami firsfi? ii
4923.
10888. The Same.
Substance, country-made paper. 13x6 inches. Folia, 28. Lines, 9
on a page. Character, N&gara. Date, Safpvat 1876. Appearance, fresh.
Complete.
Colophon : —
%TUDf i
Post Colophon : —
OToim ii*hrOT-
fmf%wT ^<nrrii
I %»r ifhmnuTiT «
4924.
8156. The Same.
With the commentary by Oopala Bhafta.
Substance, country-made paper. lOxiJ inches. Folia, 60. In tri-
p&^ha form. Character, N&gara. Date, Saipvat 1888. Appearance,
fresh. Complete.
The text is well-known.
( 477 )
The commentary begins : —
’TJT: II
Slit ^fHiraft; ^f!PRra?i?:^*nwT^^i^T: i
^«PH: HT^RgWJTfTJT^^T KT*jn^
^^ild ^^1 II3T* N
’^t*T>5jfiiTra«|'i ^f^«?jjTgq4iHT i
fiinra K«*T«aif€t(3t)^T II
5Tft(5ft)f^?wi^tRii-f’(f^^?;’EWTT!^ *rlt
^Tg^nmi «irff! wf wRT'«:ftr <«ri(»ft^fii^ i
For the Text see I.O. Catal. 1217 and for the com-
mentary see I.O. Catal. Nn. 1228.
Colophon : —
(Coram.) Tf<T jfhmswfaHT ^wtht i
Post Colophon ; —
I ^f^fr \ nwt w; i
4925.
4823. The Same.
Substance, Nepalese paper. 12x6 inches. Folia, 18. Lines, 6 on a
page of the text. Character, Nagara of the nineteenth century. Appear-
ance, fresh. Left incomplete at the end.
The commentary comes down to the 24th verse
only.
Beginning : —
(5|5^) W! I
mas ^TitiTn i
*eiw^ 1%?^^ fa^Tfa ht^^-
???i: WTITO^ ftnraiTWf Tsrra^ Tffc: j
( 478 )
?nr j
tmf? I
Beginning ; —
(z^’^rmO ^inilvrni wi i
senifs^ »p^ Jcf»T5?;wRT »nr^! ?
^wraft: ^finRngr?R:«ftspin?n8^W5'n! i ?
KWPW! »TT«f g?:HfT*T^KT ?
^rearw TftTTSR^^^^pwW' ^ifzrarT! « ?
^*T’5ift«rrwJi^ ftr«rJWrQTi4>irT i
(^ jslisem i)
4926.
1692. I Rasa^manjarl ‘parimalah .
By Sesa Cintamani, son of Sesa Nrsinha Cintamani
of Bradhna'pura,
Substance, country-made paper. 11x4^ inches. Folia, 44. Lines, 12
on a page. Extent in ilokas, 1,560. Character, NUgara. Date, Samvat
1740. Appearance, old. Complete.
A commentary on Bhanu-datta’s Rasa-manjari the
well-known work on rhetoric.
Post Colophon : —
^nr<^ \9iio I
In red ink in a different hand : —
i:?? wm liinr ^ itftm wii ^rftrsrnr i
For the beginning and end see L. 3116.
( 479 )
4927.
8192. I
Rasa-manjari-vyangyartha-dlpika.
Being a commentary on Bhanu^datid" s ivell-known
work (Rasa^manjarl).
By Ananta Barman.
Substance, country-made paper. 10|x5 inches. Folia, 66. Lines,
12 on a page. Extent in Slokas, 3,100. Character, N&gara. Date, Sam-
vat 1803. Appearance, old and discoloured. Complete.
Last Colophon : —
« i+nu.! r«(^l siiis-
Ttt%a;Tyr-^>rf»g^iyar-^ftgr w( ^qfJ8 a T ! wa i i< i ^ m
ftcfnar ra «< i a <?! ift i 'T -
?WO>T I
Post Colophon : —
m n\.. \
WT« n
In a later hand ; —
The commentary on Bhftnudatta’s work was com-
posed in Sam vat 1692 =J 635 A.D. It has a long intro-
duction, consisting of 34 stanzas, mainly devoted to the
glorification of the family of Kasiraja ; and we have
the following succession of kings : — Pratapavara Budra,
Madhukara Saha, Vira Sihha Deva, and Candrabhanu,
the patron of the commentator.
For a description of the commentary see 1.0. Catal.
No. 1224.
( 480 )
4928.
8188. I Rcisa-manjarl.
By Bhanudatta with Ndgesa Bhatta^s commentary,
entitled Rasa-mahjari-prakdsa.
Substance, country -made paper. 10x4^ inches. Folia, 34. In tri-
p&tha form. Character, Nagara of the eighteenth century. Appearance,
discoloured. Incomplete at the end.
The commentary begins : —
ff w. I
sr: n
’TTihiHf »rmT fw?Hf Softest f^»fT
C^TfiPf II
4929.
8402. The Same,
■ {Commentary only.)
Substance, country-made paper. 10ix4| inches. Folia, 48. Lines,
10 on a page. Extent in Slokas, 1,000. Character, modern Nagara. Ap-
pearance, fresh. Complete.
Colophon : —
ipiiTip I
See Oxf. No. 508, I.O. Oatal. No. 1222 and L. 1943.
4930.
9539. The Same.
Substance, country-made paper. 11x4^ inches. Folia, 18. Lines,
9 on a page. Extent in Slokas, 396. Character, NAgara. Appearance,
fresh.
( 481 )
This is a commentary on Bhanu-datta’s Rasa-manjarl,
a work on Rasa, the poetic sentiment by Nagesa Bhatt^’,
the son of Siva Bhatta.
See L. Vol. V. p. 266, No. 1943. Oxf. 213B.
4931.
8383. I Rasa-kaumudl.
(sn-agw)
By Sn-kanfha Kavi,
Substanoe, country-made paper. 9fx4i inches. Folia, 1 4-7 8. Lines
S on a page. Character, Nagara of the eighteenth century. Appearance,
old and discoloured.
A comprehensive treatise on dramaturgy.
Colophons : —
36B, o uwwTvf srw i
51 A, o i
Adhy. 5 begins : —
?r«n >055 b
a
The fifth chapter comes to stanza 146, but is still
incomplete.
61
( 482 )
4932.
8312. I Kalyam-Tcalhlah,.
By Oiri-dhara under the patronage of Kalyam Dasa,
son of Todara Malta.
Substance, country-made paper. 9Jx4 inches. Folia, 26. Lines,
11-18 on a page. Extent in Slokas, 1,000. Character, Nagara. Date,
Saipvat 1693. Appearance, old and discoloured. Complete.
Descriptions of nine sentiments.
^T?T! ^N't«TP?ifajf?ra?raiTfa! ^35tfw[f«f]w-
Cv
sitTn<i^ «c(fi<n5 ^irirTra
'T U! >fTH^ n ^ I
B! pwfij^wViftnTBiT:! ii 9 i
swftBjjnwrnffnatft irannBTfW
Os,
( 483 )
^ fhftxwT g l g
^5: utra^rrwiTfiJrfsrH! %?fT ’f iftfsiRt 1
^*rTKTfiW^^5(t SJSlfjlfft fhi: ^fcTunftrft
g®: yTOTffjfttJir^ftrcT 'gfkr^^’TfT g i g
gcrnTrf=fm*ft
SI
?ri»ig5a'’jfi:ci! %i(t ’ttt g a g
ff^TfHsr: ftJTsrfsr gf^a! gf«T3it
gwi%gTft:^’ni'w?ig* 1
sfTsrrwrgggi^g^f^rjn^
TftT 5tapi’efTg»iTm g « g
’litfir ■n^fefwfg jfhwK: 1
Cs
w^Tirg «nT?«rfttfiT)c
Vrnjg ■gxfg’ia 53T5isEn:ftra g: g?i» asftfH g t g
%x[: ^faffwgfa
itg^gjffT sii*gxT afwfsrfgwrrfgg: tot^ i
^rsffti fttncfa 'amff’T <iS|i**l«i
ftfvgiTT: ^ g g
%trt ftprpinnf®'<ff:mT»wt%^ >SEf
fHtxTT xjjftgmrgTr 1
’wris'-
xawg! %«f<i wtjsa! g g
«T5fTf^ yi nTz^rrfn 1
( 484 )
«r5r^5«itfTO^!
<!I‘«HDT^r<l II
I
6A, t% ^«?i<i»ij*^K«?l*5iinii?wfiiif^^ ^ra!rw’insft%
isTTKiin’^ ; lOA, « i?irnEf»i^if
*tnr^f>ntwrfr^ : ; 13B, o ; 17A, » ^rortir^jnsr-
; 19B, 0 ; 19B, o Tr^(?r)?:W’rTrf?:^^i ;
20 A, • ; 20B, o ; 2 IB,
« ; 22A, ^^wci?r?;?rwJD*nift^! ; 22B, wjp-
; 26B, i
Tt% ^txTTTmfWR*
The work ends : —
jft fgwfir ftf ' ^ ' C lPl=
wiwxfflTCctHTsni i
Ni
^T*TlTMI7i’-»ZJT«l«fl<mwraT
>»
sfhrilvgftii^iii ?B5j)ra*?T?nfvsr! h n
*TTg«3f[^]ftfV! ^JTTtref^fxxf^’ErrftmtTft’fV! I
Ifrarei
aii'iBrra»j?ftxrf?i! II I
siiTftr STTHT «ira!nJii»pw! i
ftxT^W ’JT JnT% II II
ysmi^ sm^ D g
«rw x?ST naiit^ xxwrt ^rfpTT ft’5fT?iT[!] fg«RT^ i
*niif*i<r'n««ii(wt) *r»WT 3 Hmsf % rftwTi « ir
( 485 )
^ g ;Tar f 'g; ram ^ »ii (»iftwT) i
ws! ’(t^trrar^ffltw* nwg w^iii t
The Post Colophon Statement : —
II HTI!1T% JTT& ftnt \fiD«IUf
«r%T JT^irpTr^ ^Tfk^T fwfew »irnqrt
5TnT?rm*rT(»rJi! i
^TTf^r aif ii fwf^ H^T I
^ JTW »r «
4933.
3027. ?lfhyT I
Rasa^mlmamsa with a commentary.
Rasa-mimamsa, a useful treatise on poetic senti-
ments, consisting of 113 verses, by Gangarama sumamed
Jadin ; with a commentary called Chaya by the same
author, written above and below the text.
For the MS. and the works see L. 4021 and 4022, the
text is noticed in L. 4021 and the commentary in L. 4022.
For the works see also LO. Catal. No. 1206. Eggeling
gives the number of the verses as 114, but in our manus-
cript it is 113.
4934.
8162. Infill : I Cotura-Ointamani.
By Oangd,-dhara Mi^ra^ son of Misra Sandoha.
Substance, country-made paper. 10 x 6 inches. Folia, 6-143 of which,
again, 54-66 and 110-114 are missing. Lines, 10 on a page. Extent
in Slokas, 2,900. Character, NSgara of the seventeenth century. Appear-
ance, discoloured. Incomplete.
A work on poetic sentiments and styles.
( 486 )
Colophons : —
13B, Tft ^g?fn»m*TJ^
ewtJiwit >tnr^«^qf»i>PTfli rnir tj^w! xtifnr: ; 25B, « frifhn-
’TTO ; 36B, « ?n»ftirT^t??wit
S5^5rji*f »rw snifm: ; 48B, • ’rm
swrui ; 63A, • »rm iT^«! ^r^irTir: ; 59B', »
>iTfw^T^f»i^iift nm ire* ; 61 A, * nw ^nm*
HiTTir: ; 63B, o ftirewtufit T^girrirfireiTJift inirreiT: uinw: ;
70A, • iTt»rf»f^«Tiift irm *rw! irersn;: ; 7 IB, o ifw
ifilH: BUtTO* ; 73B, o iRitflrTsrei^l'Tcfir^iifl srur irero: ;
86 A, ® fwsnW51?Ti:f^*^Wf sfHT ?K9l! ; 91 A, »
'Rirt: iim
wn* ; lOOB, o ^aif^iTsraJT^^TrfiifKwl^innitJft^csr^”^-
nw irg^: wtn* ;
124B, o Treinnif ® 41 n <t« I J^a ^nfl nw
^ SI
irem;! ; 139A, <> itth ^rersff* ; 143A,
o iiw '*reT?^: ^niTin;: i Tfir ^f^^finrfnt-
^wm I
It ends : —
II
^ s#
w«nf iwWh: I
^fwrefa mm *»rr«| Ti^rmcwrtf i
4935 .
5089.
iSubstanoef oountry-made paper. 14x2 inches. Folia, 8. Lines, 5
on a page. Character, Bengali of the early nineteenth century. Ap-
pearance, old and discoloured. Incomplete at the end.
( 487 )
Beginning : —
firifwwr H’itsfiT ^ i
v» Si
etc., etc., etc.
=eT^fTJr5r^aprT+ + + + + + + 4-
^^*nT II
«irra ^ >t> >3%«i:
a^iTfii iprsrr^JiT
+ + + +
^W^5fi^T^rt%f9f§^^ ir fHli JTift
![:] Bt(iTfBa(5)»T i
f^: 11^:+ + +{?)
JTfIB! WTW«r! II
The object of the work : —
BWT sn'Si Bfe HtSfT I
BBTOfff JTBraBT ^TRf b 1% f*»ina% B
BTfiT^%s^>n war ft*n i
N*
+^T?nfj ^TTf^(fn) n
The MS. breaks off abruptly, while still dealing with
Bffigara Rasa.
The MS. being incomplete, we can give neither the
name of the work, nor that of the author.
{ 488 )
4936.
8267 . I Jati-rnm.
By Soma-natha.
Substance, country-made paper. 10x4 inches. Folia, 4. Lines, 12
n a page. Extent in Slokas, 144. Character, N§.gara of the eighteenth
entury. Appearance, discoloured. Complete.
On different classes of N&yika.
Beginning : —
W! II
HiTJqnsnimffwmm w? ii \ n (?)
It contains 52 slokas.
lAj II fd ^<<*1 1^ j 16. itfd j Tffr WT^MT^nffr* ^
JB, xffi fk^rmTfa! ; wlftrtnrftpirr ; ssfigar ; aptrPBfcr ; fdsisian ;
; mnmm; 4A, «rfwT[ft:]*«T i
*rTWT! (?)
Colophon : —
Tftr
N*
WtWf ^HTH‘ I
»n1%-
The work ends : —
nft i ?nf l»T n wT I
9rTffw»i
4937.
8309 . I
Srngdra-hinduh,
Substance, country-made paper. 11x4} inches. Folia, 8.
on a page. Extent in Slokas, 160. Character, modern Nftgara.
aaoe, fresh. Complete.
Lines, 9
Appear-
( 489 )
Beginning : —
w* I
^ II
<. ify ^T I
sTT^sT Jig?: ^iTT^ r- ii \ ii
^j; ?«rl’5f«I TUftBUT^ Jit I
<\
JiJrts^^^aiftBjfjr a# JT^?fj:%at ii ii
End : —
JTprafRfa ^inwT ftiJn% Bftia jr: i
afi j;ji% Tms mfiof^T wjf 1 1 n
SI '
Colophon : —
Tfa jiJnK' I
Post Colophon : —
(In a later scribbling hand) iMlPvuni-
JTdsnnt'flJTJrTJi HRPra Jf®' jito^ttui «ith»1
jfjPSsriTT’IJgT® I
62
LETTER- WRITERS.
4938.
3755. Patra-kaitmudl.
By Vara-ritchi.
Substance, country-made paper. 16ix 3 inches. Folia, 12 Lines, 7
on a page. Character, Bengali of the eighteenth century. Appearance,
dilapidated. Incomplete at the end.
A work on letter-writing, said in the introductory
verses to have been composed by Vara-ruci under the
patronage of Vikramaditya (?). See L. 347.
The topic.s after those given by Rajendra-lala are: —
3B, ; 7A, ; 7B,
wfinnrf^!, HT^ ufh uft? ; 8A, ■to
^ f^f%^<|siiTT»iTy^^u5ntH5TC! ; 9B, ^
»nxniT ; lOA, "sm ;
HA, TCfif ^ ; IIB,
W'? giPiif W Bpn^T ; 12A, xfif
; 12B, Vf I
Authorities consulted : —
lOB, ?:T»r^lfhfWwfiii, ; HA,
( 491 )
4939.
5171. The Same.
Substance, country-made paper. 14x3 inches. Folia, 8. Linos
6 op a page. Extent in Slokas, 120. Character, Bengali of the nine-
teenth century. Appearance, discoloured. Fragment.
. A letter-writer.
Colophon : —
For the work see L. 347.
4940.
3026. I Prasasti-kasikd.
By Samhhu-deva, a disciple of Brahmdnanda.
Substance, country-made paper. 9|x4j inches. Folia, 20. Lines,
10 on a page. Extent in Slokas, 600. Character, Nagara of the early
eighteenth century. Appearance, discoloured. Incomplete at the end.
A Letter- writer.
Beginning : —
ir?^T JiumfcT i
^ II II
%t5»inT »
4941.
10739. I Vlra-viruddvaU.
By Maithila Raghu-deva Misra.
Substance, Nepalese paper. 10x5 inches. Folia, 23. Lines, 10-12
on a page. Extent in Slokaa, 600. Character, modem Nftgara in a
Nepalese hand. Appearance, old and discoloured. Complete.
( 492 )
Epithets applicable to a heroic king. On the obverse
of the first leaf : —
UR e I I
Beginning : —
?9r^iif»rf»r ;
ifmsrn^rftfjir wrvwiftfiii lira at^i sRfir snifR n
+ + + + + +
sni ■^*T'«rnifn3!untwntfn^^^[^2-
fwsfhpr, etc., etc.
The MS, ends : —
Tsraurjm ’^sJT 3ii^ sr^r «
^’ ^ T u c i wT Rf'iiiUMgwg si P l f S ^ i eia i rii^ gi
N»
+ + + + (?)
fiTK fwr^
fbun! fWTR ^ Jranifir fiifugif^ i
wftnf! 5^lTtfun*n*^
w^hifiRrar
sa^^sifwrfvaiaafffl jfW i
am
KW?t mrrjRsgil siwm^ i
( 493 )
The author’s father was Visvesvara, mother Kumu-
dini, mother’s father Acyuta, family Haritamra, country
Videha, and class-friend Buddhi-natha. The work was
dedicated to the author’s younger brother Sadananda.
Colophon : —
* ?ngBf II
4942 .
2870. or I
Prasastilca-prakararmm or Prasasti^vidhi-parampara.
Substance, country-made paper. 9x3J inches. Folia, 5. Lines, 7
on a page. Extent in Slokas, 80. Character, Nagara of the nineteenth
century. Appearance, fresh. Complete.
Colophon ; —
Tf^ ^JTTFT I
A letter-writer.
It begin's : —
«TfiT=T: I
2365 .
Prasasti-prakaHka.
Substance, country-made paper. 9^x4 inches. Folia, 6. Lines, 9
on a page. Extent in §lokas, 100. Character, Nagara of the eighteenth
century. Appearance, discoloured. Incomplete.
A letter-writer.
( 494 )
It begins : —
str^r i
?r»n5fTra! i
^jj^i «Tftnr! iT^ ? »ew f«piT i
’5*t?ts8EPrt ii
^TTVTTUnilWfW! I
^%^JTcrs«Ttr ^rfascfir
VI
jTT^^^ar ■m^rr fir?; tt i
irnr ti'nr fjfi t jit >TT?;^aif
s»
>ffT5^ ^ ^ »5Tif f 2iTf®^facnf^%g B
-f
(lA) (IB) ;
; {3A) ; {4A) «tn
snr
arfl«J15q(®Hi^a?ra^?;Htrl®T«3[f>mi?*rT-W5Wrsft®TO^fiw-
siw-jm- -i^ir-^-f^ir’aft%frTa^-*nr?:T^?;TTftfiftsTOTTft’j, etc. ,
etc.
4944.
8750. inrf^j ^ifNiT I Pramsti with a commentary.
' Letter-writer with a commentary.
Substance, country-made paper. 13x6 inches. Folia, 7. Lines, 14
on a page. Trip&tha form. Oharacter, Nftgara. Appearance, fresh. In-
complete.
Incomplete. Anonymous. Letter-writer.
Letter-writers quoted are given below : —
sreiT^fwmf®, mrrjpc, vrrarc, wn, ?n4-
.^zr TT fiiiii ^ i^i I
ADDENDA.
4316.
7576. I Sa^karakam.
By Mahopadhyaya Batna-pani-
Substance, country-made paper. 10x6 inches. Folia, 3. Lines, 17
on a page. Extent in Slokas, 130. Character, JainaN&gar. Date Saipvat
1897. Appearance, discoloured. Complete.
The Mangalacarana and the object of the work : —
’tJT! II
m«BiTf?im ’TfjTcTinnr?!!: )sfw! ii «
^T®KT5ITirpT vfN I
frsrtft sraifiBw Kstxnftr: « ii
HSBW ftP5?iT ’gpt (’StTn^gfjpiT) fw;s^ |
?nEr’'fT»%rt?Tsn^ ii
2B, Tfi? ’^tiTT>Tran^(i) ^kisnnftisiaT^t
Colophon : —
Tfa ^JTT^nTirT«f-^t(!rTrfiir«iT ipt afirsiwTJr
Post Colophon : —
XX fflfh
fwfw urn’ll® <1 »t3»ITq I
( 496 )
4333A.
4171. WlR7!r-ftflT’Tf-?T«5raT I
Vaiyakaram-SiddMntu-Manjusa,
By Nagesa Bhatfa.
With a Commentary called Manjusa-Kuhcika
By Krsna Mitra.
Subetanoe, country-made paper. 13ix6i inches. Folia, 384. Tri-
patha form. Character, Nagara. Appearance, fresh. Complete.
It is a work on the philosophy of grammar.
Beginning of the text ; —
wm finx i
gffi w I fTWR^-
WRTKTl%fa I
Beginning of the Commentary : —
'#> *t1T: I
TiPff B
» i nt yd Hf: an mv - 1
3R«ii?tftr *ns*rT •prrft i
e>v
The text ends thus : —
^ri-fSTt^ fjiPTm «c?r »rerT%*rf«rftTfir
^ fturt va
’irewTf^w^ ^wn:i i
( 497 )
The last Colophon of the text : —
The Commentary ends thus : —
saai «iff?fwir^TnTfmwT^TT [f]
The last Colophon of the Commentary : —
4595A.
7626. I UTiMi^vutpattih.
Substanodf country-made paper. lOJxil inches. Folia, 28. Lines,
11 on a page. Extent in Slokas, 600. Character, modern Jaina N&gar.
Appearance, fresh. Complete.
The Mangalacarana and the object of the work : —
’TH! I
^piiT% wf?r I
HTT (T)
■It ends : —
4611A.
7609. I Vpasargartha-aarfigrahah.
By Krsnamrya,
Substance, country-made paper. 10x6 inches. Folia, 2. Lines, 8, 9
on a page. Extent in Slokas, 30. Character, Jaina Nagara, Appearance,
discoloured. Complete. Date, Sarpvat 1907. With internal notes.
63
( 498 )
JCTw’wKfinr I
s*
«5n[i] wNt I
«rfw's»f-n€«iiwi?i’rTg»raftw% 1
^ ^3ST^ sTm?: iran^ i i
Colophon : —
Tfa irvfjrnfif ^tffnrf:
Adding «R[, «P?n: and wrfjw the number of pre-
fixes has been increased to 26.
Post Colophon : —
fw gf’j «rftoewTf^fv*iT ?rwgji^
In a small hand : —
Tspsi utlR , etc., etc. i
4611B.
7260. I TJ pasargarthah.
Subatancei country-made paper. 10 J x 6 inches. Folium, one. Lines.
12, 9. Character, modern Nfigara. Appearance, fresh. Incomplete.
Beginning : —
oto.y ©to*
{ 499 )
4614A.
7046.
Substanoe, oountry>made paper* 9{x4^ inches. Folium, one.
Written in a very small, neat hand. Lines, 89, 40. Character, Jaina
Nftgara of the eighteenth century. Appearance, discoloured,
A vernacular work on Sanskrit grammar, the object of
wlilch is stated in Sanskrit.
fwirfwffW fwnrai j
^2jE™nc?rsrwTstt ^ ii
?r^i«ft’r*rtirnr ^fqr ’i«f i
«
Beginning : —
aw fwfiir wfrii %Tr fwfiu \ ^
^ I % am %t Ttwifti % i
IB, iifRTw wfrt WJTTW ^ ^ wt fkff ri
w*nw wfrt % % i?i <WTW I TTf^ ^ WWW I
fww^ I a»#tfT i 'rtrwt fk^ i www
tarrfk I
It ends abruptly in the declension of the base of aft .
r
4617A.
7666. 'TOTUTSlft I Sanshit-rmnjarl.
Substance, oountry-made paper. 91x4^ inches. Folia, 4 of which
the first is missing. Lines, 15 on a page. Character, Jaina Nftgar. Date,
Saravat 1846, Appearance, discoloured.
It contains short and simple sentences on conversation
tor a beginner of Sanskrit,
( 600 )
Colophon : —
Post Colophon : —
IHRJ VtfiWf ^ 1 fit! W* TiUffl*!
fWIltt*W I
4691A.
7458. I Abhidhana-cintamanih.
Being the first or synonymous part of Henui-candra’s
dictionary.
Substance, country-made paper. 9x4 inches. Folia, 13-60. Lines
13 on a page. Character, Jaina Nagar. Date Saipvat 1773. Appearance
fresh. Incomplete in the beginning.
Well-known and often printed.
The first and the second kandas are lost in the missing
leaves. K. Ill ends in 31B ; IV and V end in 46A, VI
ends in 60B. See Catalogue No. 4690.
Last Colophon : —
Tiirrnw-^fl%*r^^f^fnaTUT mw-
WTWWT «T*n^vrai! TO! TOuSi I
Post Colophon : —
TOttrat^roftinT %f5 ftpn ii
4716B.
7470.
Substance, country-made paper. 10x4i inches. Folia, 7. Lines, 9
on a page. Character, Jaina N&gar of the eighteenth century. Appear-
ance, good. With interlineal notes.
Two works combined.
( 601 )
I.
2B, Tft mtTffmr i
Beginning : —
• f5rnnfifaM«taiif*i sift sit «w i
V wmi: «rT! ^pnjTfic! t= sTl^O'iii* i
«nir»i[ ’B 1SE! iiit ^T^sniad i
End : —
tji ^ *ito i
■f* + + + + + + + + n
II.
7B, TWBTurft in«EBT»rminsn ’^wftwtn snsisif i
ck
Post Colophon : —
fw?f, gOrswt^sr%«Ii II
Beginning : —
BUR qf g»)f »rnt rmBfS i
g jsif g
BT! Bsairi ifti'O JTOT inii[0 fl’tWtPisit'isi* i
BTJift ar^f! Bfisit BBSTi I
End : —
Baft ttwl Bj ^ 'Bj BBt JTg I
+ 4- + + + + + ••• W5n I
BT w fBTW«w(T) I
47160.
7384.
Substance, country-made paper. 10 x 5 inches. Folia, 8. Lines, 9 on a
page. Character, modern Jaina N&gar. Date, Saipvat 1897. Appearanoe^
fresh.
( 602 )
Two dictionaries of monosyllables used as words with
interlineal notes.
I.
By Amara (consisting of 20 verses).
Beginning : —
«nc W! I
«l«w t= I
II
End : —
2B, ?fT TO I
’srw JTWT uwe;ft:^?fT n
*rmT5r«i^’it»rwRT^?:niiTfir!f irt n
Colophon : —
>n*TOwr «^(w) I
II.
(Consisting of a century of verses.) By Saubhari.
Beginning : —
HTO ifv^ ?iTTxrf^ i
TOT^NnwffTwt 5 y
«(! Sim: tot to* i
unit «R! SRTWt WIW* II
End : —
V urgw! t mwT (T) to^ wtwfl(?) wn i
?n WIT fiRTTT^^ « t«« (T)
NJ
Colophon : —
^^Nftwn wi|^ y
Post Colophon : —
\0 1 fwfiss ?:TO*rT%»j •
if3«IT^ n 5IT*T >ITH tTWlJT: II
etc., etc.
4726D.
3380.
country-made yellow paper. 16^x4 inches. Folia, 4.
Lines, 3, 4, 6 on a page. Extent in Slokas 40. Character, Bengali in a
modern hand. Appearance, fresh.
Four works combined.
I. I
Begins : —
aPT fn?nfirsrTsr»T i
n'Bjsrft^TftruRT ?:T*nT5^! i
End : —
3A, i
II
• ^ETtKt iPTTfw^r^^TT’CJii i
It comes to an end in 3A.
Colophon : —
«ffTw*T I
II. begins in 3A and comes to an end in SB.
Begins : —
End : —
3B, fK (?) jftsfir fwi ■5101: 1
Colophon : —
“fff ^mrfHVT’l ’BWTHW 1
4742A.
10448. I 8ruta-bodhah.
VJ
With the commentary entitled Subodhinl.
By Manohara Sarman,
Substance, country-made paper. 10fx4i inches. Folia, 12. In
trip&t/ha form. Character, N&gara of the eighteenth century. Appear-
ance, discoloured. Complete.
For the commentary see L. 1716. It was written at
the request of Raja Manikya Malla.
Colophon : —
?mTKi I
4790 A.
1126. I Dhvanyalokah.
By Ananda-vardhana,
With the commentary by Abhinava Ghipta,
Substance, country-made paper. 13x7^ inches. Folia, 164, of which
fol. 163 is missing. Character, modern KaSmlri. Appearance, fresh.
( 606 )
Colophon 444 : —
No colophon of the text here.
Colophon SOB : —
5KT«rr(<Jr)wiTt
WWTK! I
Colophon 167B: —
No colophon of the text here.
Colophon 164, last colophon of the text : —
... I
JCT’P^‘g»r Tf?r yf^iifiTsm: g
Colophons of the commentary : —
44A, TfH •srfnfi%«[!]
r«w wt?r! I
81 A, Tft ffjfhT!
rii^! I
167B, Tfa utraiw^itwhpl s^hr'
I
Beginning of the text : —
rfwmarjf!— i
^ y yiiT Fa f^^ •ran: g
'Sf^juTnf snrjKigt 1
%»r imi ?r^ g
64
( 606 )
Beginning of the commentary : —
wnr% I
^TJtjfmra ^ i
3(WT?{ y^nc^wi HTwvft s«j,
I
II
^^TTiS-
f<( visTmt^^n^-^^rat- ♦lyNdirft:
iW2*r^T^
TOT! ^ g^fT^ ’^TOITT^, TCWT^ I
End of the text : —
+ + + «TT-
^ wn! ^f<TTRrFir?ri i
TOT^Trt^
TiTO^’f Ttf^JTTfrrsmi II
End of lEe commentary : —
167A, f»r?H«^(ii^ -j- -I- -I- + ^t wMfT:^twi T «i T^-
«tw.»nf«w ^afiCd cTw f^sre %to wrurt^Ts
N» sj
ftpf I «T«n^^«<sn^['^]^ fror?®^ i
WT^fsidRf i^TOrt ^WZdRf^Trf^ I
VJ
froN^ftRt TO TraiTTT n
Commentary ends with the third Uddyota and the text
of the fourth Uddyota begins with the comment : —
'#' TO ItgfflThT! I TOTWtTOTTOTTJ ^glW T’ d TO fWd! I
Dhvani-kara is an unknown author. Ananda-vardhana,
the court Pa^dita of King Avanti-varma of Kasmir A.D.
{ 607 )
(866/6-883), is but a vrtti-commentator of the Dhvani-kara
and Abhinava Gupta, the well-known Saiva philosopher, is
a commentator on Ananda-vardhana. Abhinava Gupta is
a disciple of Bhatta Indu-raja.
Authorities quoted in the text : —
I aim: I
Examples quoted from : —
TWtaw, f^airaiin^T, a5m*a^, vgpfmi, wroft-
%ifNTT%, tUfluaap:i%, Jmrmrv^, jitt-
aT2% and amaaf^ i
Authorities quoted by Abhinava Oupta : —
viTergfiisiwfiifu:, ama:, htwtt:,
ufamaf!,
■safan^, WTH’aTfafwvasf i*?:, and
wrata i
Examples quoted from : —
^aa^w, HWTlaTTaar, af^if^an:, a f t Hg aa’^
am^aaaa aat aT^Saftfifi:, *w w
aaaT? 5 _, ama^, axanaft^, uprawmi, w^agfa:, araa-
agpm, and i
4904A.
10791. ^3WTO5fNnTf?5J I Ujjvala-nlla^manih.
With a Commentary, In tripatha form.
Substance, country-made yellow paper. 16 x 6 inches. Folia, 16 *
Character, modern Bengali. Appearance, fresh. Incomplete*
( 608 )
The commentary begins : —
'#* nWt jfhrwnr j aniiw i
iprTS’Rwt wrnn^ ^PTRisr! i
^“tw^PTtgar: ffhf «
TTO<T )ftr5^ srr% i?t 5?:Twt% i
^3^5t*?N»nDt WJT ftrafs! n
4915B.
6998.
Subatanoe, country-made paper. 8Jx6i inches. Folia, 16 (by count-
ing — there being no leaf marks). Lines, 18 on a page. Character, modern
NSgara. Appearance, fresh. In unbound book form.
The MS. appears to be defective. It is a collection of
Sanskrit slokas in bandha, the letters of which are so
arranged as to be put in diagrams ; and there are various
diagrams such as a lotus, a disc, a club, a sword, and so on.
Various kinds of acrostics.
4934A.
4098. gTTZ «| ^f vspff| 1 Notaka-candrika.
By Rupa Oosvaml,
Substance, palm-leaf. 16 xl^ inches. Folia, 26. Lines, 5, 6 on a
page. Character, U<Jiya of the early nineteenth century. Extent in
Sloka^, 700. Appearance, fresh. Complete.
See L. 3160.
4940A.
1176. I PraSasti-kd^Bika.
By Bdla-krsm Tri-pathl,
Substance, country-made paper. 9|x4 inches. Folia, 27. Lines, 12
on a page. Extent in Slokas, 000. Character, N&gara. Date, Saipvat
1877. Appearance, fresh. Complete.
( 609 )
A letter writer.
The author is Bala*k|:$na Tri-pathi, brother of the well- .
known Kasl-natha Tri-pathi who wrote in the eighteenth
century a library of works on ritual. They are sons of
Bala-bhadra Tri-pathi who settled at Benares. Bala-
bhadra’s father named Gorak^ Sanna hailed from the
Northern side of the SarayQ.
Beginning : —
sim jnnirfu i
^ ii
OisfT i
^raftrrgii^HTJr %««rnr fwiiTfOTT n
It ends : —
lir fUTT I
I
uf«RRncflrefin*T^*^ i
I fa {i m- ^r»ni i
A«4|44j|jK:
?IT ^ I
B^ltfegwfTiRT I
S:
?f?<srT w I
( 610 ‘)
wrcrrff »?Ti^ itftprT! «
^ inOr 5?wf ^fisfwwT^ i
?ifinnw (?) iffs^ itfiBcti! ?rTg»iTnir*t i
Colophon : —
rf^
tnntijwTfinfT ^nn ii
Post Colophon : —
4943A.
1329. I Prasasti-patriha,
Substance, country-made paper. 10|x 5 inches. Folia, 29. Lines, 8
on a page. Extent in Slokas, 450. Character, Nagara. Date, Saipvat
1909. Appearance, fresh. Complete.
On letter writing.
Beginning :
’4W»fl’’r5rwir*rnr sift: i
^WT JranifiT ^ '
•airfWRTftpRT ^«IT I
^^ i f tgtpiiTrpr f^rftsTT »
^gjnfwfiT ^lllf>ft «*T5T: ^RTSWTftwt I
f?r^ ^r4fTOTf45(»fNT^l II
Ends :-
’BT^^T^t^S^s^fTipnr I
( 611 )
This appears to be a shorter recension of the previous
number.
Colophon : —
wff \\ ftiwf I I
iwrw w - 1 wi a
4943B.
6639.
Substance, country-made paper. Il|x5| inohes. Folia, 5. Lines, 11
on a page. Extent in Slokas, 130. Character, N&gara. Date, Saipvat
1870. Appearance, fresh. Complete.
A letter-writer. Anonymous.
Colophon : —
ifir I
Post Colophon : —
vhrt n %«SBnw-l- -f- a
a ^ a
We find in 4A : —
?fhr i
INDEX.
4698—4600.
4698—4600.
4693.
4710.
Vhff r 47 1 1 , 47 1 1 A , 4722 A .
4721.
4692, 4693.
4912.
4618.
4704.
^5TVTirf%STn»if^ir:, (see 4690,
4690A, 4691, 4691A. Add.
^IvVT^vft by w^'
XT), 4662.
'Xf^TffxxT^TiT, 4802.
XWT^:, 4632—4662, 4667, 4658,
4666—4667, 4673, 4683, 4686.
^XTTitWV^ft’, 4680.
(by €k^Tfl), 4667.
4683—4686,
WT^iWffT^srJ^ (by 4666.
WTWW-:, 4682.
4870.
4871.
( f ),
4890—4893.
4903, 4904,
^WTTTWT^J, 4866.
4856.
WWTTtxTt, 4787, 4788.
4860, 4861.
66
xi^l'rTXTTf^fw:, 4805, 4896.
) 4889.
4852—4864.
(Tif4?xi5rfxxTTnfxfti^T), 4690A,
4691.
4608A.
(by 4363.
4497.
4.587.
4613.
4904 A. Add.
4904A Add.
( xfx7nJI^X*?S\«TgfPi: )
4470—4473.
I (by 4368--
I 4360.
^xrl^fx; (^TTOj), 4394.
4596A. Add.
4367, 4696.
4595.
4627.
4611 A. Add.
4611 B. Add.
4611.
4728 11.
xxPl^Ti^tx:, 4712—4716, 4721, 4722,
4726, 4728 I, 4731 VI.
( 614 )
4710A.
4716.
4869B.
llT
(by 4627.
(l«rTV^tirf^;5T3¥i*r^^TfhiTr by l?j-
4335.
(by 4384.
by 4391.
WT^5rr*inc:^, 4370—4374, 4376A.
ft«5), 4664.
WPJWnifr^^ 4932.
4638— 4641B.
4794— 4798A.
^^^^ww?rr?9TT5rr, 4799.
(^ifT^swTirfNfT), 4846.
4806A.
4915A.
«irrwwirf%^T (by x:twt^), 4383.
4306.
WTTWNrjjeftTJ (see fr*fr^»fT by ^^Rurm),
4393.
Vi^ppnrftftrg^, 4386— 4386A.
4387.
(by 4368.
4370—4374, 4376A, 4381,
4406A.
vnroeftriWr, 4376.
^TTnWff%TTf%^, 4376—4381.
4366—4369, 4387,
4406A.
wnrwVn^, 4399.
4869A.
nfrwir*4^T (by ^m^), 4561A.
VT’CW^P?^, 4637.
uriXi^ff^K: (^ftnf^K), 4602.
(by HKHirftrv), 4537 A.
4678, 4679.
4541—4546.
4910, 4911.
4906—4909.
4812—4817, 4819, 4833,
4841.
4809—4811.
l|fT3TSnfiT¥rft«RT 4818.
4819, 4821, 4822,
4834—4836, 4840, 4841.
VTiisrsFFir^inj, 4848.
4838.
4820.
4831, 4832.
¥T9miTOanTT«:, 4810.
^n*i5i?[^r¥?r^rf^^f^¥T, 4844, 4846.
4823—4826.
4827, 4828.
Hff^rf^sw, 4901, 4902.
4789, 4790.
4849.
Hfifk^T, 4213A.
mfnmi (by and ^rrinr), 4231—
4235.
4213.
(by
4236, 4237.
f 4879—4888.
f^fn?TiT»«^ir^5Rn[, 4896, 4896.
, 4894.
wnni?l, 4402, 4403.
4706, 4705A.
4693.
4726A. 4726B. 4726C,
fJpflftTTOJ, 4588.
fiinrTtiTO^Vf!, 4617.
wlfTm (by tx), 4366.
4350.
, ^
iraiW^Wi, 4241, 4242.
jRtna: (by 4366.
(see »isi'«rf*!Wr). 1009.
gssifiwn, 4248.
4244.
4486,
.
I (lfiC»), 4772.
I 4773.
4776.
▼m- (t«fNf«Til¥T), 4933.
3r
«Wtw?; (?) 47.32.
snfTOT^i, 4936.
(W^:'gVT4!cf)i*l), 4774.
z
(vt’CHft’iftifT by
^), 4668. ‘ ‘ '
. 4934.
^41 i r<.* l, 4867.
spsnifw:, 4860—4866, 4867- 4869.
^njWswmrrTiCSfTJfJi;, 4863—4866.
'»wft«T («n«l), 4417. II and III.
wnrefti;, 4414—4416.
4414—4416.
4411, 4412. ^
4412.
{by 4413.
'^'TWCwrg^, 4612.
4874—4877.
r, 4878.
Wgpir (by 4291.
4731V.
(T
' by
4458—4463.
if^nr^hBiT, 4839.
4293—4296.
by b
4474, 4475.
4238A.
iT?[5 by a Buddhist
author, 4362.
4653, 4654.
SNh5iT;,4786, 4786.
4785, 4786.
4783, 4784.
fi;4srniR:s 4774.
4743.
4743.
4329
4498, 4499.
4803—4865,
lOnrWTW^ii:, 4803-jr'4^06.
4616, 4.616,
5wms4\if: (by fww),
SJi k iWWitH W H, 4627.
( 516 )
4576, 4577.
4717—4719. 4725, 4731IV.
%Rrg^ (by 4369.
vr?i^cwr by
4547-4549.
Vigxfiir; (by 4351—4353.
4355.
Kig^T^: (^rw^nair^TO), 44171.
VTdtTTH.*, 4591.
vrgsjftTi: (by ttgRT), 4354.
(by ?FTfhrr^), 4561.
4694,
4348.
4790A, Add.
4790A. Add.
4728 IV.
4726D, Add.
4213, 4213A.
4934A, Add.
»r[5fms^firRiH?1-, 4720, 4723.
4724.
irrwm¥c«fnft^:, 4706.
»rm?rrwT, (see 4696.
»rwftnr<j:, 4631.
4732A.
s^rw (by 4236, 4237.
4238.^
tnpTWWri?:, 4709A.
W«rw?NfW,,4687,
(by fJiWi , 4260,
' TOfhsr^, 4938, 49^,
(ijTK^iwr^ri^r by
linJ), 4443~444fii’
4669, 4660.
4672.
4396.
4397, 4398.
(by
4669-4671.
4800.
(by ’iTHnTTfm), 4254A.
(by 4334.
(by W5TTH), 4667.
4338—4340.
(by tt^), 4341, 4342
(by trjjirm), 4658—4560.
triTHTTiT^ (^TTT^^), 4367, 4387.
(by irni^Hf), 4343,
4344."
( by l^irrq
4346.
(by afrftiTT^
4387C-4390.
by Tmxj^ wnff ), 4392.
4249.
mf^ufTO^nrra:, 4214— 4216C.
^nrSt^:, 4356 A.
4366B.
4349.
^ifWlTEnT^mT (by 5^1%), 4337.
(by ifnfrfl--
Mf), 4223.
4217—4220.
(by fiTTT?hR^m).
4622, 4622A.
^T’cft^Tir: (by 4622^.
wthWTi[! (by ^tntT^), 4622C
4622D.
irr^^rritftwT, 4622C, 4,622D.
^^:?hwTirf^: (by WRr^), 4((^j
( 517 )
4748.
4747.
4761.
4749.
4760.
by
4668.
4620.
(by 4300.
mm (ii?T3nT^Tirit?RT), 4833.
(^T^snrft^T^T), 4320.
4251—4263.
(by 4264.
(by v?tiT), 4361.
4670— 4672A.
1WT 4228.
E t (^mft^T^r), 4829, 4830.
(see
by 4442.
4689, 4690.
(W^TW^PT), 4561.
(see 4408,
4409.
4408.
Y^ftJR^WTwr, 4680.
^n^tJT^rtiF: (iRw^fnrit^T), 4406.
^nsfWWf^n^T' (mVwTTO), 4410.
THRftff:, 4944.
(by 4623
SITW?TSRrr?^?fFT: (by ^TTi^i:), 4624,
4626.
(by 4628A,
WT§f?TW#Ril1- (?f9«fT?:ii5r«ff), 4626.
4628.
4628.
^Wfrw, 4271—4277.
4230.
4916.
(^Trfi^), 4387.
(by 5r^:^f^), 4364.
4528.
4780.
(by 4283.
4764.
HT^sfrr:, 4246—4260.
(by 4250.
(by iTTift^Sli^i), 4223.
4330.
4942.
4940, 4940A. Add.
4944.
4943A. Add.
IT
i?^^T (by irrir^?), 4268.
(by 4266
4267.
W9f%iT>fr^h5ft, 4301—4309.
wfRiiT (^T?fwng«f^ ^yi^^mru)
4393. '
4661.
if^wraa^l, 4222.
V Mio }
«TrHT«rafhT‘, (by llt5R:),4221, 4222.
(by irTift^>»f),
4222.
4656.
(by 4623.
(by 4526—4627.
(by ^TfS%^jfw^), 4529,
4630,
(Same with Cat. No.
4536), 4627.
(by 4532—
4634.
(by
4636, 4536.
4618—4522.
f?v«frv«rT¥f:irit^r (by 4624.
IpvwtfVft, 4673-4676.
4699—4703.
(by
4365A.
^iRjprrf^f^;' (^w), 4662.
iwsri^nrsfrjr:, 4527.
tWt|tWBSi[, 4673.
WlfW, 4703A.
wnwT, 4681.
4239, 4240.
W, 4868, 4869.
(>ri^i#) 4931.
4898—4900.
’CWtfirftf 4^16-4919.
wwtrn: (wrtswTufNt), 4842, 4843.
Wt«^, 4920—4926, 4928.
WwfifNtr, 4924, 4926.
4926.
t««w?tin»rn:, 4928—4930.
4927.
4933.
"cr^iTJwr {^iijr^^SNrr). 4866. 4867.
4726D, Add.
4801.
««!raP5|ireiIX:, 4888.
(by miiiwf)
4331-4333.
4277.
4278—4282.
4284—4290.
4310—4315.
4606.
4606.
4630.
fisrsfn;, 4629.
4677—4679.
finrTf^^nffhr, 4676.
4707.
4867A.
wr«r<m:, 4566.
^RUfxgwftitr, 4600.
^uwrg^nftwiflwr, 4600.
4681.
4317.
(itw'nn^) 4319.
«rmr»fl«iStwr, 4319.
4318.
Tr^rWTt', 4791, 4792.
4793.
wttw'iW!, 4406, 4407.
WlfNnn*:, 4216.
( 619 )
wifJNmnBT, 4651B.
4399.
(ai«flr>ii-*9?lq<i), 4748.
f^^sft‘,'4243.i
4696.
ft^^wrn:, 4688, 4689.
4666.
4941.
4781.
e’n5»T»i^, 4778, 4779.
e^«V%4i^, 4762.
CT^wm;, 4763 — 4766.
4769, 4760, 4760A,
4762.
4768.
nirwur^tg;, 4760—4762
4763.
4776.
4777.
4897, 4897 A.
(t%^>n^Vgfhrr), 4266,
4268.
4614.
4574.
( by )
4323—4329.
(by Hari-val-
labba) 4329.
4333A. Add.
Hmuft^T’UKsrrint, 4292.
^Twy’W'wn^, 4619.
(by !(rmw*m), 4488—
4492.
4493.
4223A.
S i w n w, (by Tiwnfm), 4663—
\fm.
4731, 1.
4706, 4706 A.
4224—4227.
¥T^^?msiiFi¥r:, 4336.
4728 V, 4720.
4676.
4601.
4404, 4404A.
4730.
ir^:, 4727.
4367, 4387.
4582.
i^hnfiftj^-»rnRin^T, 4709.
4800 A.
4937.
4694.
4621.
4733—4741.
(Here attributed to Vara-
ruci.) 4742.
^fnftVs 4742 A. Add.
WW?:, 4731, 11.
4316. Add.
4400, 4401. -
wvit’sfif'Hifl, 4683.
4728, III.
TOi'W^:, 4731, in.
4464-4471., 1
^f^lWT'Cftoiil, 4487. J
’sf^Treitilitr (by 4469.
^■pB1WTKft»T (by .ift^*N«l|), 4469
4476—4486.
( 620 )
(^TIOTT^O^ 4495 .
4469 .
’^ffTJTOTTffVi: (by
4470— 44i73.
^Tr^n:«f%:, 4477 .
4494 .
4726 D. Add.
4761 A.
4615 .
(by 4616 .
(by ’cwirm), 4617 .
4617 A. Add.
4501 .
4501 .
4586 .
(5?r^^swnritiRT), 4407.
4806 .
4808 .
4418 — 4421 .
(by ?r««rrf^^Ta»),
4422 , 4422 A.
i^^urmr^ (see ifTWwr), 4696 .
r^f^^'-, 4405 .
(^K^irft^T by mimrji\
4441.
TKiprfvft (^T 3 ii 5 T^r^VT), 4847 .
(by 4439 —
4440 A.
K^W ^ HWT, 4422 B— 4438 .
I K^ ?TST f nwrfir^yT^gftr!, 4446 , 4446 A.
fTWWT^’li 4445 .
fTt^WPSI^, (see by
4443 — 4446 .
nK 5 ^Wi^VT«n(, 473 f, VII,
(see by gpfli-
iTTH), 4442 .^
4868 , 4869 .
4872 , 4873 .
4346 , 4347 .
gfHt, 4604—4612^*^*^^^*^
4603. 1
f%ijlip«t,j4399.
4256—4268, 4270.
, 4299.
4268.
4269.
(by ar^-
4268.
(by twm), 4447—
4457A.
(by sriit^r^), 4268.
4837.
gfn: 4757.
(gTTTJgTif^VT), 4759.
4666, 4565.
^qtPFRPC*^: (by 4654, 4665.
4652, 4553.
4553.
4297, 4298.
(f^T»n^f» 5 gnfbfT by
irit), 4456— 4457A.
(’WfOfit^T), 4742A. Add.
(by ^nsT^HfiT), 4492.
4496.
(^V^H), 4663.
4602—4606.
4216.
4418—4421.
4396.
(?) (’WTV^Cigit^T), 4414— .
4416.
^1^5, 4631.
^pciV^FT
4\#t),4268. ‘ ^
( 521 )
4322.
4321.
(by ?), 4268.
^<MrvT?j^f%«rTnn{, 4514
4613.
4515.
^ri^T»ni??r55T^^Tini, 4667—4569.
^rCT^, 4697, 4698. *
(see ^fHHTsrfV?TTiTf«ir:), 4690,
4690A, 4691.
4366B.
qrrfirT*^Ty ^ - u i- l1 - ^ T, 4365C
iirrf^aim’nr^T, 4365D.
jpniHHrw^Ri vig^T^:, 4660.
465 1C. .
4583A.
a»wirni:^-w«fw?irrfw:, 4684.
4686, 4596.
^riTpr^^n^, 4592.
4697.
^rf^qTTTT^Vr^:, 4607.
IwrcT^nmi:, 4608*.
4609, 4610.
5iTVrW, 4614A. Add.
sjT^rw 4621 A.
4716B. Add., 4716C.
Add.
^WT^cf^nsr*?^, 4913.
W»^iWKl¥^^»TT, 4914.
Wwrf?^, 4916B. Add.
4936.
4943B. Add.
Calcutta « Published by the Asiatic Society of Bengal and Pnnted by
P. Knight, Baptist Mission Press.
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